The Crysalis Moving Textiles series offered by the University for the Creative Arts in the UK features some of the world’s most exciting examples of textile innovation. An exhibition at the Herbert Read Gallery on the UCA Canterbury campus during June and July of 2014 brought forth some Jetson-like textile art projects that intrigued and even startled many hitherto-naive fiber lovers (c’est moi.) I had no idea that such a broad range of art students, faculty and professional fiber artists was exploring the interface between textiles and technology in so many amazing ways. No Luddite, I was a tad skeptical at the title: “Moving Textiles”, wondering if my long detour from London would only yield some self-indulgent fashion-school gimmickery. But no.
You had to be there, but the creative energy and out-of-the-box design sense in evidence were of the highest calibre. The thoughtful integration of technology in the design and function of textiles made attending this show both a delight and an education in textile modernity.
More photos and a better explanation of the aesthetic messages of the show are here.
Nothing enhances the charm and beauty of Paris more than the floral finery of springtime.
Burgeoning greenery in the gardens of the Musée Rodin surround and complement the array of August Rodin’s magnificent sculptures.
Familiar, even clichéd street scenes take on a freshness that portends the coming warm season.
The streets are beginning to stir with people and pets; new energy is found for walking, rain or shine, and for creating, perhaps a bright spring knit cardigan, or a new skirt in hemlock green.
Searching for just the right beautiful yarn, trendy fabric or distinctive buttons? There’s L’Atelier on Rue des Plantes — inspiring ribbons, buttons, yarn and more. The friendly staff are knowledgeable and not snobbish…one of many great haberdasheries in Paris.
Enjoy the Spring!
A bright-to-mute transition of color heralds the start of the cooler season in New England.
While spending time apple picking, pumpkin-carving and canning the last of the tomatoes, we hardy inhabitants of the Northeast U.S. can view our autumn landscape as an inspirational palette for winter art and craft creativity.
The woodpile grows, windows are weather-proofed, bulbs planted, the gardens put to bed. Fall festivals and country fairs are in full swing; neighbors share mulled cider and quote the Old Farmer’s Almanac, speculating on the harshness of the coming winter.
We pull out our warm knits and refresh them in the autumn breeze, maybe finding that some hats are too small, some scarves too short, or a sweater riddled with moth holes — and then there’s the Christmas knitting.
Patterns are explored and plans take shape for fall knitting, crochet and quilt projects.
There’s a unique pleasure in choosing the right materials for the right purpose, considering the recipient’s age, coloring and tastes. Our surroundings yield ideas for colorways that we might not have imagined – Nature always surprises, even when ‘helped along’ by man! Native or hybridized, the final splash of autumn color is a welcome and inspiring sight.
Western Massachusetts textile artist Cheryl Rezendes has just launched her new book with Storey Publishing: Fabric Surface Design:
This excellent volume features multiple surface-design ideas and techniques for quilting, sewing and textile art, for both professional and amateur fine-craft practitioners. The author’s relaxed, conversational approach sets a non-intimidating tone for newbies, and the book’s ‘start-anywhere’ structure invites experimentation and discovery.
Rezendes’ philosophy of creating textile art, indeed art in general, advises letting medium and process determine the direction a creation will take, rather than adhering to a rigid pre-conceived vision of the final piece. Another wise caveat is that not everything an amateur or even professional artist produces will be a masterpiece; learning, practice and the evolution of a style are also worthy outcomes.
Leveraging the author’s deep of knowledge of actual textile painting and production techniques, the reader can build confidence with materials selection, fabric manipulation and final-product maintenance. Beyond that, Fiber Surface Design’s major value-add lies in Rezendes’ freely-given gems of advice that only long experience can yield, but that relatively few artists readily share.
A recommended addition to any textile lover’s library.