Friday, February 07, 2014

A great review of the "Stitch" show by Michael O'Sullivan in today's Washington Post.

Tuesday, February 04, 2014

The artist's talk I gave at Broward College has been posted on Youtube:

and "State of Emergency", a group show I am in at Davidson College (with Ai Weiwei!) was recently reviewed here.

Monday, January 27, 2014

A Busy Week

"Stitch" opened at The Reston Arts Center on the 16th, then I took off for Fort Lauderdale, where I was a visiting artist at Broward College. I gave a talk on Thursday the 23rd (they tell me they videotaped it and it will available on YouTube some time this week), and a condensed, 3 hr version of my Visual Voice Workshop on Friday the 24th.

I have lined up a 2-day Dig Deep: Visual Voice Workshop with The Art Armory in West Palm Beach for 2015, and a Publicity Hat Workshop that we are hoping to schedule for 2014.

Wednesday, January 15, 2014

"Une Femme D'Un Certain Âge", 2014, 33 x 22", grey hair of many women embroidered on black cotton. Working photos. This work will be at the "Stitch" group exhibition along with 14 other works, opening tomorrow at The Greater Reston Arts Center in Reston, VA. 

 This is the catalog for the exhibition, with a detail of "Heart Center" on the cover!


Tuesday, January 14, 2014

In January:

Giving an artist talk at Broward College in FL on January 23rd, followed by a free abbreviated version of my workshop, "Digging Deep: Find Your Visual Voice" on the 24th.

Showing my silverpoint spoons at "State of Emergency", opening on Jan 23rd at Davidson College in NC. The show is curated by Lia Newman, and features the work of Ai Weiwei, Miguel Aragón, Mel Chin, Joelle Dietrick, Eben Goff, Naoya Hatakeyama, Miki Kato-Starr, Tatana Kellner, Matt Kenyon, Mario Marzan, Richard Misrach, Jason Mitcham, Matthew Picton, Robert Polidori, elin o’Hara slavick, Katherine Taylor, and Paul Villinski.

A slew of my newest fiber work will be at "Stitch", opening Jan 16th at The Reston Arts Center in VA. Holly McCullough curated this show with Orly Cogan, Suzi Fox, Rania Hassan, Pam Rogers, Erin Endicott Sheldon, and Nathan Vincent. I will be showing 14-15 of my mosr recent works, including the hot-off-the-press embroidery featuring the grey hair of dozens of women, and "Dacades of Dreaming of You", on loan from a collector in Miami.

Saturday, January 04, 2014

In-progress hair embroidery, made with the grey hair of dozens of women.

Saturday, November 23, 2013

A really nice mention and image in The Washington Post last week:

"Kretz is in a category by herself. Working in silverpoint, an archaic drawing technique that leaves fine, ghostly metallic lines on a gessoed surface, the artist has created miniature pictures of tornadoes on the concave surface of two ordinary tablespoons. The images are barely an inch wide (you have to get right on top of them to see them), but their message packs a punch. That’s because of Kretz’s delivery, which harnesses the metaphorical power of an ordinary household object to domesticate nature’s fury.

The artist's point is less representational than conceptual. She's interested in disturbances that that aren't atmospheric so much as familial: divorce, dysfunction, and other transformative dynamics.

For Kretz, a tempest in a teapot can be just as devastating as one on the open prairie."

Thursday, November 07, 2013

In-progress hair embroidery made with dozens of women's grey hair. The more contributors, the more power the piece will have. Please email me at kkretz4art_at_aol_dot_com if you want to mail me some hair and be a part of this project. Even if it is only 5 or 6 inches long, I can get a few stitches out of it !

Tuesday, October 29, 2013

New Project. This is the THIRD time that I have stitched out the red guidelines, and the second time I have actually begun the hair embroidery. I think this one will work:

I am using grey hair gathered from many women. I am still accepting hair. Contact me at kkretz4art (at) aol_dot_com.

Saturday, October 26, 2013

"Portent" exhibition, curated by Twig Murray, opens tomorrow at the Athenaeum in Alexandria, VA, from 4-6. My silverpoints got a mention in the The Washington Post's selection of weekend activities.

Tuesday, October 22, 2013

For a long time, I have been lamenting the fact that my hair embroideries take 3 solid months of work to create a 2 x 3" work. The finished piece is easily passed by or dismissed as a drawing, but when people see a detail of the work blown up, they are often blown away. Today, I picked up my first archival large scale photo of a hair embroidery, face-mounted to plexiglass, and I am VERY happy with the results. It is clean and sexy, I have kept the victorian oval reference, and you can finally see all of the work that has gone into it. (the hammer is for scale)

Thursday, October 03, 2013

"Hag." and "unruly" framed ,  both:   2013, embroidery on human hair, velvet, convex glass, frame, 3 x 3", 14 x 14" framed.

My Vagina Dentata Purse will be included in an academic book entitled "The Cultural Encyclopedia of the Penis", to be published in 2014.

Here are images of the Fiber Optics exhibition, current up in Ft. Lauderdale at 1310 Gallery.
Finally, uploading files to the printer for my first "museum-quality archival photo print, face-mounted to 1/4" plexi, cut to oval as shown, with polished edges, mounted to die-bond with a cleat for hanging". Blowing up the hair embroideries, looking forward to the results, and the possibility that more people will actually be able to see / feel what goes into making those 2 x 3" images that take 3 solid months to make. I feel as though this is the way that they were meant to be seen. The first one will be more like a circle, but the rest will be ovals. Clean and contemporary, but with a Victorian reference. They will be about 30" tall. Excited.

Thursday, September 26, 2013

"Enough Violence" opens this Friday night at The Society for Contemporary Craft in Pittsburgh. It is a subject that is near and dear to my heart... I am looking forward to seeing the show. I will be there for the opening, and for the "meet the artists" session on Saturday afternoon from 1-3. 

"Fiber Optics", a large-scale exhibition of contemporary textile work opened last Friday at 1310 Gallery in Fort Lauderdale.

I am so thankful to be this busy.... starting to feel like my job is being a professional booking agent for my work!

Saturday, September 21, 2013

The Gazette and The Washington Post both reviewed The Trawick Prize Finalist Show, and had some wonderful things to say about my work!

Here are two new silverpoint spoons, Tempest IV and Tempest V.... they are likely going to be the last spoons I do, though I may do another ladle or two, I like getting lost in the floods.

I am teaching a painting class this semester, and I am unpacking the oil paint that I have not touched for 5 years, and setting it up to start painting again in my own studio. Here is an in-progress glazing demo I am doing for class, a circular painting of my sleeping daughter.

"Fiber Optics" opens tonight in Fort Lauderdale!

Tuesday, September 10, 2013

Radley Kretz, a.k.a. “The Goob”
April 15, 2003 – July 23, 2013

I waited my whole life to get a dog. I grew up in a dogless house; when I was old enough, I used to visit dog parks and dream about the day that I would have one of my own.  I knew I would name him Radley, for "To Kill A Mockingbird” character Boo Radley. I think I even practiced calling his name, out loud, to the air, when I imagined what life would be like when I finally brought him home. I had my heart set on a Boxer…. large, bumbly dogs that remain puppy-like their entire lives.

Once I got tenure, I knew it was time. Like any good academic, I bought and read 5 books on training dogs before I picked him up. I was a neurotic, first-time dog Mom, calling up friends anytime I had a question.

I had spent most of my life avoiding any commitments, and when I decided to begin my own family, he was the first one I chose. For a long time, it was just the two of us: he would ride shotgun on road trips, stay with me all day in the studio, and slept curled up in my behind-the-knee nook each night.

Radley pointed me the man I married. I had been with another man for four years, one I was madly in love with, but my increasing desire to have a child was not one that he shared. The on-again, off-again breakup was difficult, and even long after we separated, he was the one who drove me across the state to pick up Radley, knowing how long I had waited to get a dog, and wanting to share the excitement with me.  The Goob rode across Florida in my lap while S drove. 

A few weeks later, I talked to S on the phone, and relayed that crate training was going well, but Radley had just had an accident on the carpet. “Good luck with that…” he replied dryly, before he said good night and hung up. A few weeks later, after I started dating my future husband, it happened a second time. “I have a carpet steamer… we can take care of that, no problem!” was his response. Clearly, a keeper.
Radley was a good dog, one who never rolled in anything smelly, never chewed any shoes, only got into the garbage once, and always went to his “place” when told. He acted like a puppy until a few days before his death: he was so relentlessly happy and enthusiastic, it was always hard to tell when he was sick. He used to love to stand up on his hind legs, his paws on my shoulders, and dance with me. When he gave kisses, it would always be one quick little lick, at the bottom of your nose. We would tease him by whining like a dog, and he would cry in empathy. His mouth made an "O" when he howled, “roooo-rooo-rooo” whenever he heard an ambulance. Both my husband and I used to fake him out by saying “Where’s Kate?” or “Where’s Kevin?” when the other was other gone, to send him dashing to the door, looking to and fro for the missing parent. He had a huge personality: it inspired me to make up at least 5 songs about him, I used to sing them to get that tail going. Ironically, my daughter had just started singing the Radley songs, insisting that we make up songs for the other family members as well. 
 I am still bursting into tears a few times a day, even 6 weeks later. The relationship I had with this dog was more constant and physical than any other relationship in my life. I work from home 5-7 days a week, and he was always by my side. He lived in my studio with me. 
If I sewed, he was there:

When I stretched a canvas, he helped:

When I got a scaffold, he watched me from his studio couch:
If I lived with a man who was literally with me 24 hours a day, leaning against me, wanting constant contact, he would be shown the door pretty quickly. Much like one misses the physical details of a lover, I find myself missing parts of him…. his round little fuzzy chin, his expressive eyes, his stubby tail wagging back and forth at 200 RPM. I long to scritch behind both of his ears simultaneously… it is a gesture that is indelibly burned into my nervous system.

Through the tremendous personal difficulties of the past five years, Radley was constant, likely happier than ever that we went from living in a 4,000 sq foot house to being tightly packed in a small two-bedroom apartment with 2 grown-ups, a newborn baby, and a cat. Through several moves, 5 months of six-hour drives (with a newborn) every weekend to NC to pack up a house, and yelling at him because he was underfoot in the tiny apartment, he was just happy to be with us.

And now, since we had to put him down, he is teaching me again. I have always been a workaholic, but my life before the recession–based-shit-hit-the-fan was one where I fluidly moved from working on furniture projects for the house, to sewing something awesome for myself or my niece to wear, to “real” art projects and back again. I was blissfully happy, and I knew that each thing fed the other and opened up new possibilities. But once my husband was laid off from Labcorp two weeks after I became pregnant, I gave that life up, and have been living in “survival mode” since. Five years of relentless pressure put me close to a breaking point: I slept less, worked up to three jobs at a time, was a mother to my daughter, and every spare minute I had was spent working on my art & art career. I have always been driven, but I was determined that I was not going to “disappear” once I had a baby, despite the fact that our circumstances had changed dramatically for the worse. When we finally moved into our present house, other than preparing a nursery for a now-one-year-old daughter, I decided that there was no time to paint rooms, work on the lamp, or paint the couch the way I imagined it in my head, even though it pained me every single time I walked into my living room, seeing only the gap between my vision and the reality.

Six weeks ago, after we put my sweet puppy into the ground, for the first time in my life, I was incapacitated. I have made work through a major breakdown in my 30's and through various episodes of depression and anxiety over the course of my life. When my father was in hospice this past Spring, I sat by his bed, playing music and movies he loved, while working on a hair embroidery. But, this time, I could not bear to go into the studio without my companion. I spent about two days sleeping and crying after the hour of buoyancy required to get my daughter off to daycare.  I watched a movie or two. People gave me permission to be kind to myself. I decided that it was finally time to paint the lamp and the couch. For several weeks I devoted myself to making beautiful things, things that were NOT going to be immediately shipped off to a gallery or an art fair the minute they were made, but objects that would give me joy EVERY SINGLE DAY by sharing my space…. just like Radley.

This was a life lesson that I needed to be reminded of, and it would not have happened without the tragedy of Radley’s death.  He has shown me the path out of a very bad rut.

I have never had much use for organized religion: I don’t know what I believe about the afterlife, but I finally understand a bit more about why religion seems to be a necessity for many people, and why we have developed platitudes about death. This year was the first time I have lost beings that I was really close to: it changes you in dramatic ways. I want so desperately to believe that I will see Radley and my father again, and that they are happy now. I understand what people mean when they say, “He will live on in your heart…”, because he does, right next to the hole that his death created. I am shocked to find that my mentality has been reverting to that of a five-year-old. A few weeks back, it was raining really hard, and I wept because, three feet under the ground, he was getting wet in the backyard. He didn’t like to be wet; he loved coming in from the rain and being toweled off, ferociously. In my worst moments, I make angry demands of the universe, screaming to no one in particular, “I want him BACK! He’s MY dog, and I want him BACK!”  

Wednesday, September 04, 2013

This Friday, The Trawick prize winners will be announced. Lenny Campello gave me a vote of confidence in his blog recently, as he mused about who might win this year. I'm just trying not to think about it too much and move forward, working on more grant applications, a number of projects for the house, framing my newest hair pieces, and getting ready to set up an oil painting studio after a 5 year hiatus. Been framing and shipping work all over creation for shows opening in the next few weeks:

The Trawick Prize: Bethesda Contemporary Art Awards Exhibit
Gallery B, Bethesda, MD
Sept 4-28, 2013

Curated by Amanda Cooper
Morean Arts Center, St. Petersburg, FL
Sept 14 - Oct 27, 2013

Fiber Optics
Curated by Lisa Rockford
1310 Gallery
Fort Lauderdale, FL
Sept 21 - October 11, 2013

ENOUGH Violence: Artists Speak Out
Curated by Kate Lydon
Society for Contemporary Craft, Pittsburgh, PA
Society for Contemporary Craft

Sept 27, 2013 - Mar 22, 2013

Fiberart International 2013
San Jose Museum of Quilts & Textiles, San Jose, CA
November 6, 2013 - January 19, 2014

Curated by Twig Murray
The Athenaeum, Alexandria, VA
Oct 24 - Dec 8, 2013

I will be present at the two Trawick openings, and possibly the Society for Contemporary Craft show in Pittsburgh. Keep your fingers crossed for me on Friday the 6th.... no one except those close to me know how dramatically this prize would change my life.

Saturday, August 24, 2013

A few weeks ago, I put down Radley, my studio dog of ten years, and it just about broke me. After a few days of simply taking drugs and going to bed to get through the days, I started working on projects around my house, because I cannot bear to go into the studio without him. Here is a couch I inherited from my deceased mother-in-law:


and After:

I used to sit on this couch with The Goob, so I turned it into a beautiful Klimtian field of flowers. He slept with me until I met my husband, and was not allowed on any of the furniture until he was diagnosed with lymphoma 8 months ago, then I insisted he be allowed on this one couch so I could pet him all the time.

I have also done two new pieces, both about 3" around, embroidery on human hair. Both will be mounted on black velvet and framed with ornate round silver leaf frames.

"Hag" and "Unruly". I have 6 group shows in the near future, so it is a busy time in addition to going back to school and teaching oil painting again for the first time in years.

Monday, July 22, 2013

in-process gessoing this weekend. When my dad died a few months back, I embroidered by his bedside while I talked to him. Tomorrow, I have to put my dog Radley down, and, for the first time ever, I don't feel like working.

Friday, July 19, 2013

Today, I am sanding and gessoing all of the pieces. I cut up some emory boards to get into the tiny spaces.
Here is a planning map of the middle layers:

Thursday, July 18, 2013

I am back to this piece again, one of three I am working on right now. Excited to be entering into a period of intense work in the studio... will be posting at least every other day, if not every day.

Wednesday, July 17, 2013

New, not-yet-titled piece: 13 x 17", embroidery on found pants fabric. This work was done in collaboration with G.K., a young female artist who will reveal her identity when she (or her parents) deem it appropriate.

At the beginning of 2011, I made the gouache on black paper piece below as part of the "Little Exorcisms" series:
I added the pink glitter frame because I thought it was a bit too straightforward without it, and thought the piece was ok for what it was, but I wanted to try again to see if I could do better. I then started a second painting of two dogs squaring off, about to fight, which I let go of and did not finish (a rare thing for me), because I still felt it was lacking something... if I figure out what it is, I will still make take a stab at it, either by finishing this work or starting a new one.

Around this time, I went to visit a friend with a young child. She was showing me her drawings, and one stood out to me, it approached what I was trying to embody in my own work. I asked her if I could use it in an a embroidery. I made one "monster" fatter and added hair to the second one, otherwise the embroidery is a direct copy of her original drawing.

A review of Fiberart International in the Pittsburgh City Paper, featuring an image of my work.

Tuesday, June 25, 2013

Trawick Prize

"On behalf of the Bethesda Arts & Entertainment District and the 2013 Trawick Prize selection panel, I am very pleased to inform you that you have been selected as a finalist for The 2013 Trawick Prize: Bethesda Contemporary Art Awards. Our distinguished jury selected your work from the work of 43 other semi-finalists and more than 300 total applicants."

Tuesday, June 18, 2013

Meet The Maker: Kate Kretz

I am giving a talk on my work at The Society for Contemporary Craft on Friday, June 21st at 5pm, following my day long Visual Voice Workshop. Please spread the word! The talk is open to the public... I promise some laughs and a few gasps!

Tuesday, June 11, 2013

I am happy to announce the first of two new workshop endeavors! I will tap into my 20 years of experience in helping artists make the unique work that they alone were born to create through my "Dig Deep: Visual Voice Workshops". The blog, complete with Mission statement, is here, where I will be posting related articles, updates on new workshops, as well as images and feedback. The first worlshop will be held in Pittsburgh, PA, at The Society for Contemporary Craft on June 21st, but I will be working to bring them to various parts of the country both independently and through interested arts organizations. 

Monday, June 03, 2013

Contemporary Craft Blog published their interview with me today.

Thursday, May 30, 2013

This Sunday, June 2nd, "Hair Apparent" opens at the Athenaeum in Alexandria, VA. I've got three brand-new pieces in the show, and I am really looking forward to this exhibition, I think it will be quite provocative. It's a multimedia exhibit including sculpture, photography, assemblage, and performance. The show explores artists’ relationships with hair referencing cultural perception, myth, ritual, and memory. This reception will include an opportunity for attendees to add snippets of their own hair to Richmond artist Caryl Burtner’s installation work. Reception details are here.

Tuesday, May 28, 2013

New Work: "The Beauty of Your Breathing", 2013, mother's hair from gestation period embroidered on found dress, velvet, 20 x 25" © Kate Kretz

Worked on this at my Dad's bedside in the last few weeks of his life, when I was thinking about precious breaths in a totally different way. 

 It will be one of three works I have in the "Hair Apparent" exhibition, opening this Sunday at The Athenaeum in Alexandria, VA.

Monday, May 13, 2013

I was one of 5 artists chosen to be reviewed in Sunday's Pittsburgh Tribune-Review of the Fiberart International exhibition.

Thursday, May 02, 2013

Gail Godwin once said, “There are two kinds of people: one kind, you can just tell by looking at them at what point they congealed into their final selves. It might be a very nice self, but you know you can expect no more surprises from it. Whereas, the other kind keep moving, changing... They are fluid. They keep moving forward and making new trysts with life, and the motion of it keeps them young. In my opinion, they are the only people who are still alive. You must be constantly on your guard against congealing.”

My father was such a man. He devoted his life to learning, growing, and being fully alive, and those qualities were his greatest gift to us.

It is hard to imagine what it must have been like for my father, at age 13, to see his mother leave her family to join the army for a more exciting life. It was the late 1940’s, when such behavior was unheard of, but… in my father’s oft-repeated words, his mother, a vivacious, Auntie Mame-type character, left a man “whose idea of a good time was taking off his shoes” to travel the world.

This event, coupled with other shadowy episodes of the sort that people rarely speak about now, and most CERTAINLY did not discuss back then, caused him to seek refuge in books, films and the unwavering pursuit of a self-actualized life. He used every trick in the book to ingrain this pursuit into his children, and we are now sharing them with his grandchildren.
In young adulthood, he pursued the beginnings of a religious vocation like his brothers, but told us that he left after having dreams of his future children.  Those dreams led him to Julie, his “Jewel”, who gave him five children. These children remember lying on the floor after dinner, with the lights dimmed, while he played music on the record player, asking us what we “saw” when we closed our eyes and listened. Long before the days of VCRs, he shared his love of film with us, putting us to bed well before our bedtime, only to wake us later when an amazing movie was on TV. His favorites were old Technicolor musicals, but he also loved the classics, and continued to see most of the popular, foreign, and independent films that came out until the day he died. He introduced us to sitting on the front porch to watch thunderstorms unfurl, and going to the airport on Sunday afternoons to watch the planes, followed by ice cream. He delighted in going on rollercoasters as much as any child. He taught us how to be fully alive in the world, to be awake, critical, and curious.  Despite our lack of resources, we were taught to savor: as children, we were told to chew our food 27 times, and, on Christmas, we opened presents all day long, so we might appreciate each gift that we got and thank the giver appropriately.

He loved teaching French and Latin at Binghamton Central High School. I remember his excitement each time he came up with a novel concept for his class to get them interested in the subject matter.  He was an incredible teacher at home as well, often making up games so the lessons we learned would be fun. As a parent now myself, it is plain to see that he thoughtfully orchestrated our education, and devoted incredible amounts of energy to its creative implementation. Despite always holding down a second job to make ends meet, we were, for a good part of his life, his vocation and highest priority.

In 1972, he rented out our house and took his wife and a family of then-four children to live in France for a year, on half of a high school teacher’s salary. We were poor, but got to attend French public schools, experience a vastly different culture, and our lives were transformed forever. As a result, three of us have returned to live in Europe on our own as adults. Back when we were in high school, there was not a book we read for English, French, or Philosophy class that he did not remember and discuss with us. Dinner at our house was the place to be for our friends, because we had animated conversations on fascinating subjects. We were always encouraged to express our opinion, even if it challenged my father’s beliefs, because thinking for ourselves was valued above all else. 

A gentle, devout man, there was not an ounce of entitlement in him. It was rare to see him get angry… although life dealt him many blows, he internalized the pain, rather than lashing out at those around him. He was intensely private, and when he had his first stroke in ’93, he self-consciously withdrew from many social situations, was forced to relinquish many of his dreams and activities, and, in his own words “grew down”, essentially living a life of the mind. If you saw him on the street, he often looked disheveled, as his left side was not working so well, and he was not the kind of man to let others dress him, but late at night he was writing eloquent short stories. We recently learned that the workers at The Binghamton Public Library know him by name. Even late in his life, my father was a keen, silent observer of human nature, the man who unobtrusively sat in the corner, noticed everything, and then stunned with his astute comments, often delivered with a dry sense of humor. Despite his intellectual acuity, he was often humorously unpredictable. Only a month ago, at Easter, though he was having trouble walking, he woke from a nap on the couch, donned my daughter’s frilly Easter bonnet, hobbled to the front door, and just stood there, grinning, until someone noticed him, then asked, “Why should Ilaria have all the fun?”

He resembled no one so much as the George Bailey character in “It’s a Wonderful Life”. Earnest, idealistic, vivacious and naïve, when my father went into real estate, inspired by George Bailey’s actions in the film, he specialized in “farm home” properties, to help people of modest means get into their first homes.

Bob Kretz was learning every day of his life. When he retired years ago, he began auditing classes at SUNY Binghamton: photography, creative writing, history. literature. Last year, at the age of 76, he started learning Italian to add to his repertoire of French and Latin. He often sent his children books or films that he thought might be of particular interest, or relevant to what was going on in our lives at that moment.
These are but a few examples of my father’s spirit, and the many gifts he gave to us. As Auntie Mame said, “Life is a banquet…. and most poor suckers  are starving to death!” Robert Kretz is a man whom, for most of his life, had more movies and books in his collection than dollars in the bank, but, today, our lives, and the lives of our children, are deeper for his life choices.

 He was a dreamer… with all of the riches, and, sometimes unfortunate consequences, that come with that mantle. As a result, I’m a dreamer, too.

And at this moment, in MY dream, I see my father, sitting in a café on The Left Bank of Paris, watching the sun set, reading a book, and, let’s face it, drinking a glass of wine… maybe even smoking a cigarette, because he is finally free.
R.I.P.  Robert James Kretz, 1935 -2013

Saturday, April 27, 2013

April/May Announcements

I have been notified that I am a Trawick Prize Semi-Finalist!

My participation in Fiberart International and the associated workshops has encouraged me to move forward to publish a comprehensive 30 pg book of my fiber work on Blurb, available in hardcover, softcover, and e-book.

"Milestones: Textiles of Transition" opens at the San Jose Museum of Quilts and Textiles on May 8th. The show is curated by Deborah Corsini. I have two hair embroidery works about Motherhood there. The reception is in early June, still figuring out of that is a possibility for me.
Milestones: Textiles of Transition runs from May 8 - July 21, 2013.

Milestones: Textiles of Transition explores how historic and contemporary textiles have been created for and continue to signify moments of transition—birth, marriage, and death, among others—and the unique bond these textiles have with our universal human experience. As material objects they play an important role in all of our life passages, either as utilitarian objects, or as ceremonial and symbolic pieces.
Milestones: Textiles of Transition seeks to facilitate a dialog between the traditional commemorative or functional textiles and modern interpretations of these familiar experiences by contemporary artists. Comprised of approximately forty objects, the exhibition includes a wide variety of textiles including historic baby and wedding quilts, ethnographic works such as kuba velvets and bani guili beadwork (worn during puberty rites) and provocative quilts, sculptures, and installations by contemporary artists pursuing these timeless themes.Contemporary artists featured include: Paula Chung, Susan Else, Kate Kretz, Victoria May, Mary Mazziotti, Stephanie Metz, Noël Palomo-Lovinski, Erica Spitzer Rasmussen, Beverly Raynor, Deidre Scherer, Linda Friedman Schmidt, Wendeanne Ke’aka Stitt, Ruth Tabancay, Angie Wilson, Victoria Findlay Wolfe, Lisa Sipes and Luminarium Dance Company

I have one work in the Triennial exhibition Fiberart International 2013 at the Society for Contemporary Craft in Pittsburgh. They have published a gorgeous catalog. The show will travel to the San Jose Museum of Quilts & Textiles, San Jose, CA, November 6, 2013 - January 19, 2014
and the Franklin G. Burroughs - Simeon B. Chapin Art Museum, Myrtle Beach, SC
January 19 - April 24, 2014 

I will be giving a talk and offering some workshops at The Society For Contemporary Craft this summer:

Friday, June 21 | 9 am - 4:30 pm
This one-day intensive workshop serves artists who work in all media, at virtually any stage in their development. In addition to mining for subject matter and discovering one's own unique forms of presentation, the featured exercises can be repeated after the workshop to refresh an artistic practice or recover from 'artist's block.'

Saturday and Sunday, June 22 & 23 | 9 am - 4 pm
Co-sponsored by the Fiberarts Guild of Pittsburgh
Students will transform a found article of clothing into a provocative, wearable work of art. Discharge, painting, appliqué, hand embroidery, and embellishment will be used to create engaging clothing that 'speaks.'

Sign up for either workshop here:

In May, I will have 3 brand new hair embroidery pieces in "Hair Apparent", opening at the Athenaeum in Alexandria, VA. The show is curated by Twig Murray.

Finally, thrilled that I will be part of a two person Booth Project with Gaston Ulgalde at LINK Artfair - Hong Kong from May 23 - 26, 2013, with Hardcore Art Contemporary Space

My father is in hospice and will not make it to the end of the week. He has probably influenced my work more than any other human on this earth. I have realized that so much of my work is about him, the kind of person he was, the difficulty of his life, and his responses to it.

Tuesday, April 09, 2013

So much happening!

Fiberart International opens Friday, April 19, 5:30 - 8:00 pm.
There are two locations for the show: Pittsburgh Center for the Arts, & Society for Contemporary Craft. My work and I will be at SCC during the opening. I have already given all my passes away to immediate family, I think there is a $5 charge at the opening if you are not a member, but I am told there will be a luxe spread !

There is a Forum the next day where all the artists will be speaking about their work, and I will be back in June to give an artist's talk and a series of workshops: A non media-specific "Finding Your Visual Voice" workshop, a 2-day Psychological Clothing workshop, and an Artists-Who-Happen-To-Be-Mothers Film Screening / Go Out for Drinks Evening.

I stayed up three nights in a row creating a fairly comprehensive Blurb book of my fiber work to have available at the Forum. I will have a few available for purchase there, but you can have one shipped to your door by going right to Blurb. Inexpensive e-books, softcover, and super deluxe coffee table versions available!

Wednesday, March 20, 2013

"Sauvage" (working photo, unframed), 2013, human hair embroidery on hair, 5 x 5.5"

Monday, March 11, 2013

I am happy to announce that soon my silverpoint pieces will also be available at Snyderman-Works Gallery in Philadelphia!

Sunday, March 03, 2013

Jerry Cullum, Senior Editor of Art Papers, called my piece below "One of the best artworks he had seen in 2009". The 63 small drawings made during my daughter's first year are on exhibition for the first time in Kansas, at Butler Community College. "Postpartum" opened on Friday, March 1st, at the E.B. White Gallery at BCC, and will continue through April 5th. The exhibition was curated by Rachel Epp Buller.

Working photos of new piece... soon will have enough new work to call photographer and get them all shot.
Deluge II, 2013, tarnished silverpoint on found ladle, 7 x 2.5 x 1.5"