Sonji Says...

"Uncommon Threads: Contemporary Wisconsin Textiles" at the Museum of Wisconsin Art, West Bend, Wisconsin , March 28-July 15, 2012

2012-03-28T08:44:00.014-05:00

I haven't fallen completely off the map...only in a fold somewhere. Ahh, life. My piece "Corseted Landscape: Fall" will be on view during this exciting exhibition at the Wisconsin Museum of Art, in West Bend, Wisconsin. There is also work by Barbara Chappell, Sharon Kerry-Harlan, Christopher Niver and Bird Ross, among others of note.

2011-03-02T13:31:00.002-06:00

This is one of the pieces I am exhibiting in the show this weekend. It is so happy to be out and about again. I love it because of all those bundles. I miss making those babies and really didn't pay much attention to them when the piece was hanging in my studio this past year. FYI, my laptop keyboard is not functioning (I am actually on a friend's computer) so that is why I haven't been posting. I have no idea when I am going to get it fixed...as you know technology isn't first on my list at the moment...I decided to purchase a Navajo spindle instead...3ft tall. OH YEAH...I will have to get the posts together for travel up here to this computer.

Hope all is well with everyone...

Another Upcoming Event...

2011-02-23T14:22:00.004-06:00

FOR IMMEDIATE RELEASE

Three women owned, 'art related', businesses in the Historic Third Ward - Marshall Building have organized a special event, WOMEN IN ART. Morgan Oldenburg of Spill, Susan Kabins of Luminosity and Catherine Davidson of CR Davidson Art have invited twenty talented women to exhibit their work in a Lower Level gallery space for three days in early March. This event precedes the International Day of Women on the 8th of March and coincides with the quarterly arts event hosted by Marshall Arts on March 4th and 5th.
WOMEN IN ART
Marshall Building - Lower Level
207 East Buffalo Street
Milwaukee, WI 53202
Friday, March 4th 5 - 9 Opening Reception
Saturday, March 5th 11-4
Sunday, March 6th 12-3
Free and Open to the public
Many of the participating artists have affiliations with local non-profit organizations; there will be information about these groups as well as information on the individual artists. A variety of media and style will be exhibited; paintings, prints, textiles, mixed-media sculpture along hand-made jewelry, greeting cards and books. Many of the artists will be in attendance during this sale exhibition. Confirmed artists include Stepanie Berenz, Robin M. Fleming, Jenie Gao, Amanda Gerken, Susan Hale, Sonji Hunt, Shelby Keefe, Alison Krick, Margaret Lockwood, Chrystal Gillon Mabry, Judy Mindin, Colleen Shoop, Bridget Lyle Wolf, Ann Mory Wydeven and Kyle Zubatsky.
Other local Historic Third Ward businesses will donate flowers, offer chair massages and introduce a special jewelry charm to honor this event and the International Day of Women.
For further information or questions please contact one of the organizers:
Morgan Oldenburg at Spill 414-270-2808 morgan@spilldesign.com
Susan Kabins at Luminosity 414-278-0992susanosity@sbglobal.net
Catherine Davidson at CR Davidson Art 414-303-9389 catherine@crdavidsonart.com

Peltz Opening...belated fun (and fashion)

2011-02-06T02:32:00.019-06:00

Oh, it was a lovely (and really cold) evening at the opening way back when on January 21. Yes, I know this is a day picture of Peltz Gallery...what good would a night time picture do? You wouldn't be able to see what it looked like. So, let us not get all fussy and make-shift continuity editors OK? (This is not a question...even though there is a question mark...it's a test for you).

You can see Mutope Johnson there in the back giving a short talk about his work. When Townsend and I arrived, there was a talk going on by attending artists (oops...how come I am always late to these sort of things? Again...not really a question). It had started before the "official" opening time because it was a group from the Art Museum.

This is artist Rosemary Ollison, who, after seeing Della's television interview where she was standing in front of my work, said that she MUST have a picture in front of the infamous piece. Clearly, I was not in top blogging form because had I been, I would have made EVERYONE stand in front of that thing.

You can see gallery owner Cissie Peltz in the background (she is the only non-African American person in the picture facing the camera...you can find her). In the foreground is artist George Williams, Jr. and curator/artist Della Wells (wearing a Sonji cowl...crocheted by Sonji from hand spun wool by Sonji...mmmmhmmm...very warm and stylish if I do say so myself...do I really need to finish the run on sentence? You know what's coming. And no, I did not make the hat, it is a commercial object, but still very attractive on the curator).

Oh, and look...super stylish attorney and businesswoman Genyne Edwards and what is that she is wearing? Mmmmhmmm...I will say it...an equally super stylish, one-of-a-kind (very warm), Sonji cowl...Sonji knit (yeah baby...I knit now despite my issues, the wool called for it) from Sonji hand spun wool.

And all the way from Washington, D.C., artists Amber Robles-Gordon and Jamea Richmond Edwards. (Why aren't these fantastic women wearing Sonji cowls...how did they get into this post without them? Of course, next time ladies...you know what you have to do).

Portia Cobb Heyward and THE Brad Bernard (both Sonji cowl-less, but still looking great...once again, this shan't happen next time, right?)

And Della (appropriately attired) in front of George Williams, Jr.'s work.

So, as I wrote this I got a little ridiculous about the cowl thing (because one, meaning me, must have some sort of thread to lead you around my blog...and that thread (yarn) is ME), but seriously, it was a great event. A lot of attendees doing the gallery night run around. I got to see lots of people I hadn't seen in a while...some I hadn't seen in hours, some a year and some 20 years...seriously, isn't that crazy? It was definitely inspiring and helped me get back into my art groove. Now, if there were only about 12 more hours in the day, OK realistically 5 more hours would work...I think I could really get things rockin' again.

Go Pack!

Xenobia Bailey

2011-01-26T10:36:00.011-06:00

This is definitely a flash-from-the-past...October 2009, to be specific about the flash point. I was cleaning out my drafts/unfinished posts and found images from a great visit to the Kohler Art Center in October 2009 that I never posted (how could that be?). My goddaughter and I went to experience an exhibit I knew she would fall in love with, the work of Xenobia Bailey. This was the third (or fourth, or fifth) time I had seen the exhibit and it was fresh every time. Her work is exciting, accessible, comforting and graphically stunning as well as complex...the kind of complexity that doesn't take itself too seriously but makes a strong comment. I love constructions that create a space that envelopes you...not like a hug, but rather more of an environment that surrounds you as a viewer/participant and transports you. Installation art is a difficult medium and Xenobia's work is an example of parts making the whole succeed. Her work is separate pieces that stand strongly on their own, but when combined enhance her Neo-funk vision of life.

Kamwas obsessed with this tea setting and the crocheted "living room" area. It had a feel of a classic tea setting in a pristine living room...you know "don't-go-in-there-and-break-anything" vibe, except you can't break a crocheted environment (the china, yes admittedly). My girl is a budding ceramicist. She told me once she loves clay like I love paint. So, I know she isn't joking.

All the pieces, according to Xenobia's gallery talk, continuously evolve, year after year. Nothing is complete. As a viewer, I get much better insight hearing an artist talk about their work instead of simply reading about it or hearing a curator or gallerist or critic discuss the work. I also recall her discussing the development of her fiber obsession ranging from all natural handmade fibers which then turned into using more cost effective acrylics in order to make the work she does currently. Funny to look back on it, having developed my own wool obsession in the following few months. Hmmm.And her insanely amazing crowns leave me speechless (-ish). She has an etsy site as well for a select few pieces from time to time.

And, proof that I actually met her (cuz I am a super social butterfly baby)...here is the fantabulous Xenobia Bailey in our living room petting the studio assistant, Julie. Xenobia was great fun. Della Wells and I picked her up in the morning from her residency loft in Kohler, stopped to take Julie out, then met Mutope J. Johnson (hey, I'm diggin' the look of this new blog) at the Maharaja for buffet and then we spent a gazillion hours at area thrift stores...ah, it is all coming back to me now. Good times, great work. If Xenobia Bailey's work (or her person) come to a city near you...don't walk...run to go and see it again and again.

...and a big thanks to everyone who came back to start reading the blahblah again. Much appreciated.

"Visions, Voices, Viewpoints and Victories of African American Artists" at Peltz Gallery in Milwaukee, Wisconsin opens January 21, 2011 and...

2011-01-19T22:24:00.013-06:00

..."Textural Rhythms" is opening January 20th at the Museum of the African Diaspora in San Francisco. It runs through April 24, 2011 and lots of events are associated with it (workshops, artist talk, curator talk, etc..) and you can see two of my pieces in it, as well as a great many others. Alas, I can't make it to the opening. Heavy sigh.

However...

"Broken Landscape" is on exhibit again, but this will be the first time in Milwaukee, WI. It has been previously exhibited at FAVA (Oberlin, OH) and at the Wisconsin Museum of Art (West Bend, WI). I rarely exhibit in my hometown, so if you are local you may want to stop by the Peltz Gallery to see my work in person, as well as the other wonderful offerings in this group exhibit. This is Milwaukee's Winter Gallery Night/Day weekend as well, and Peltz Gallery is also offering their famous Free French Breakfast on Saturday January 22 11:00 a.m. -4:00p.m. which includes "coffee, conversation and comfort food". Don't miss it if you are available. I will be on hand Friday night at some point during the evening (for those of you intersted in how my hair is looking nowadays). I TOOK OFF WORK...CAN YOU BELIEVE IT? I can't. But I did. Milwaukee Public Television's "Black Nouveau" interviewed Della Wells, the guest curator of the exhibit, along with gallery owner, Cissie Peltz. Della is standing right in front of my piece for much of her interview. Plus, you get a short preview of other work throughout the segment including Reginald Baylor, Mutope J. Johnson, Evelyn Patricia Terry, Sharon Kerry Harlan, Zeph Farmby, George Williams, Jr, Trish Williams, etc. Click here to view the interview on YouTube or you may also watch it on the MPTV website (whichever suits your fancy). It is the very first segment following the introduction. Plus, following that segment, there is a great piece about the Milwaukee Art Museum's exhibit of internationally renown artist Chakaia Booker's work you might want to check out as well.

I asked Della if I could reprint her curatorial statement for the exhibit because there will undoubtedly be the same old local voices asking the same old question "why is an African American art exhibit necessary in this day and age?" Also with that same old question will come, I predict, the same old hypercritical judgements based in Eurocentric male dominated stereotypes (I have nothing against them, Eurocentric males, I mean...it's just those stereotypes are so darned troublesome) or perhaps just plain ignor-ance of the exhibit all together (you know, as in "to ignore") by the "mainstream" art community here (until February of course) OR...maybe excessive attention from those who feel guilty (over?.....) and I think that Della's statement addresses the issue in a short but to the point manner...plus, she's so much more tactful than I am. But, hey...I haven't lost my touch for a great run-on sentence.

**********

"Visions, Voices, Viewpoints and Victories of African American Artists"

Curatorial Statement
by Della Wells

In bringing together all the artists for “Visions, Voices, Viewpoints and Victories of African American Artists”, my goal was to give the viewer a glimpse into what African American artists are producing, particularly here in Wisconsin. Each artists works in various media such as painting, print making, collage, quilts and sculpture. And I am sure that some will ask the question why an African American art exhibition in the so call post-racial America?

A discussion which has permeated the art world here and elsewhere in the United States asking, is there still a need to produce exhibitions based on racial, cultural or ethnic designation? After all, as some have claimed we now live in a so-called post-racial America, since the election of the first African American President. Furthermore, there have been criticisms that exhibitions should not be based on race, gender, ethnic, or culture and should only be arranged based on media and/or the merit of the work. Gallery owner, Cissie Peltz has faced these criticisms before with her annual exhibitions “The Remarkable Women” and “Return of The Men” exhibitions.

These viewpoints overlook three key factors: the artist's intention, context and who makes the decisions about the merit of any particular artist's work. Art is created for all types of reasons and by all man/womankind and the experience of the artist, whether it be related to culture, gender, religion, for arts sake, etc. These reasons may or may not influence an artist’s art making process. And for us to understand any art we have to consider the artist’s intention and context in which the work is produced.

And another important question is how is the category African American art to be defined? Is African American art solely defined by the race of the artist who produced it? These are two questions I want the viewers to think about while viewing this exhibition. And please consider this, exhibitions are organized around all types and subjects and reasons. An exhibition’s focus is the reason audiences may be drawn to a particular exhibition. The art work in this exhibition was chosen not simply because the artists were African American, but because each of the artists has a definite vision, voice and viewpoint. And like many artists in our western influenced culture, African American artists fight for victories to have their artistic visions seen and understood.

********

And, if anyone is remotely interested anymore, I am going to try very hard this year to write once a week, nothing grand, but I sure have gotten out of the habit and I apologize to those who were following me and were actually interested in what I was writing about and creating. I'm not much for resolutions and this is as close to one as I will get...I call it a birthday wish, because right now it is closer to that and I want to start MY new year of continuing life by getting back on my wandering track. Heavy sigh. No...no heavy sigh. No sighing, just forward, productive living. Yeah...that's a lot better. (small, really really small almost imperceptible supertiny exhail)

ARTIST AS QUILTMAKER XIV runs through July 31

2010-05-22T13:29:00.005-05:00

In my wild wool obsession and daily work drag, I totally forgot to post that I am one of the artists included in FAVA's "Artist as Quiltmaker XIV", running May 16 through July 31. FAVA, for the uninitiated, stands for Firelands Association for the Visual Arts, located in the New Union Center for the Arts in Oberlin, OH. So, if you are going to be in the area...drop by. I have 2 works in the exhibition (see the red one on the left above) and the one below is the "cover girl" on the postcard (a detail image is used...I was so excited when I received them because my work has never been the "cover girl" shot in a group show). I also won an award for innovation. Well...I admit to being innovative, at least. Check out this link for other award winners in the show. Great company to be in. And just a quick shot for you of my keeper yarns, spun by me...yumilicious. Part II of my obsession posting will come soon...I promise. Honestly, obsessed people (meaning me) really have difficulty keeping a schedule (especially for meticulous blog posting...unless that happens to be ones obsession).

And finally, I got those bundles sent off to the winners after weeks of not feeling like embroidering, I decided to take them with me to work and low and behold after a week...they were embroidered. I didn't get a picture of them because, well I just didn't. Maybe the winners, Leonie and Jeannie, will indulge us if they are able.

Now...I must ready myself and the studio assistant and a visiting assistant (my friend's dog is staying with us for a few days...the wool had to go in the closet because she, unlike my studio assistant, seems to like to eat the wool...hmmmm).

Spindlerella and the Road to Obsession: Part I (I'm thinking I can explain myself in 3 nicely spaced parts...good for all of us)

2010-03-22T13:37:00.005-05:00

All I wanted to do was find some nice sock yarn. Nothing more. Sock yarn. Nice sock yarn. I believe this was in January, prior to my birthday (at the end of the month). I mention this only because my birthday was the exact moment I clicked a PayPal button and became an obsessive lunatic in regards to wool. Good times.
I was so looking forward to taking that crocheted sock class in February. I purchased the above sock yarn at Loop where the class was held (these are the socks I made following the class from Smoosh yarn from the store...made for Townsend, modelled by me and most frequently worn by me because why wouldn't they be?Hmmm? And BTW...I dismantled my in-class socks, which were disastrous because I am a loose crocheter, but I am getting the hang of it now). Anyhow, all I wanted to do was find a nice skein of sock yarn on Etsy. Something one of a kind. I mean really, it wasn't as if I was going stop with the socks, right? I knew this because I covet all those knitted socks everyone makes, but I don't knit. Don't want to knit (mean babysitter experience making learning to knit NO FUN AT ALL). I crochet (good Mommy experience teaching me to crochet in a car with a bent hairpin and dental floss FUNFUNFUNFOREVER). But, who can "just find" something on Etsy? If you are primarily a visually stimulated person...Etsy can be like a crack den or a casino or some sort of all-you-can-eat-$9.99 buffet for the crack addict, gambling addict or food addict, respectively. It can be all consuming. Art and shopping. There's definitely a way to justify that.

So, I am browsing around Etsy, looking for sock yarn and come across this...which is definitely not sock yarn.
I remember I stopped breathing for a moment. Notsockyarnnotsockyarn. I thought (and still think) this is the most glorious 34 yards of art I have seen. It looked like an all-encompassing landscape of the country from west to east , north to south. It just triggered everything inside me. Crackish.

After secretly coveting it for a couple of days, I convo'd the seller, who is now known to me as the fantastic Monte McBride, and begged that she reserve it for me until my payday...which was also my birthday. She replied that she could not resist so many "pleases" in a row and a birthday. Who could honestly? And so it began. I thought "how could someone make something so fantastic? I want to make something so fantastic and useful but does not actually have to be utilized". That seems to be a thing with me, have you noticed? Appropriate something traditionally functional and make it into something non-functional, save for beauty which makes all our spirits sore. Oh...maybe it is functional then (that was just a snide comment for those who think art is a waste...I have met a few lately and want to functionally kick their teeth in...that wasn't nice but I could see it happening in my mind and which helps me keep that ever-pleasant look on my face. Scary, huh?).

Behold...another Monte McBride creation in my collection, felted and vibrant wool skein. Hanging on my wall with the other. Only to be admired, never walked on or worn on the head or about the neck, if I have anything to do with it and presently, I do.

What now our heroine ponders? Well, spend all wee hours of the morning learning about how to spin yarn, of course. And about those who make these incredible art yarns. There are so many artisans on Etsy and among my favorites (Monte is my most favorite because her work is so peaceful and calm and reflects the landscape so well and that is where my heart is, in the land) like Loop (no relation to our local yarn shop), Vicky Hunt (no relation to me, the heroine), YOKnits, SpunRightRound, Jazzturtle, Atomic Cube, and soooooooooooo many more. Lots of them also regularly create beautiful batts for spinning and just to look at them is like looking at sculpture or paintings. I don't think I could bear to spin one of those. Well, I bet I could. And for art yarns...the queen of them all has got to be Lexi Boeger aka Pluckyfluff...I held my breath again when I found her website. Holy expletive.

But, first things first. I thought if I am really going to do this I should learn the basics to make balanced hand spun yarn and learn to control the wool in its various forms. Plus, purchasing a wheel right now is not in my budget, but I could make a spindle, totally old school. Actually, I could make about 9 spindles (that's how many I have made out of a variety of things...it's just got to spin baby). I have crowned myself SPINDLERELLA. Oddly enough, lots of spinners call themselves Spinderella in forums, but my spelling of the tag wasn't taken on Ravelry (I just signed up and haven't done anything yet...baby steps). Yeah for me.I found this great website Joy of Handspinning and it is chock full of information. Love it. Through it, I found various videos, one in particular by Abby Franquemont on spindle spinning and away-i-go! Like a fish to water. Of course that leads to requiring wool and there are so many breeds and forms to get your spinning wool in and hence the biggest obsession...THE WOOL.

That's the end for now. Next up: WOOL...the end all be all and it isn't just for yarn. It is all a means to and end with the art, you know. I must walk the studio assistant and make something to take for dinner at work and get myself together so I can last into the wee hours and then come home and not sleep more. YES!

Winners Are...

2010-03-19T02:36:00.006-05:00

Well, even though my friend Mutope was not awarded the artist residency and did not garner the most votes in the "American Idol" portion of the "program" (ugh...it sounds just as bad as it did about over a month ago) I am still giving away two bundles for the few who were good enough to go through the hassle. I haven't embroidered them yet (THEY AREN'T DONE, DON'T WORRY WINNERS).

I am so out of whack from my various work hours and staying up all wired and sleeping strange and whinemoanwhinemoan...you name it. Anyway, above are the unfinished bundles waiting to be embroidered. Oh, yeah. The winners (I emailed them) are Leonie and Jeannie. I can't remember and don't feel like looking up the winner of the whole residency thing, but as I recall she is a very sweet person and quite a reknown artist. Her work is very popular around here and there are only kind words to say about her. Gosh, I wish I could remember her name. Someone will tell me or I will eventually look it up. I'm so out of it. I proofread this and OK...I couldn't be that lazy and disrespectful. Katie Musolff is the winning artist and I wish her all the best andI have only heard good things about her. I wish I could say that much about myself...I'm not sayin' I'm just sayin'... I would have taken proof pictures of the drawing and the cool half finished hat I pulled the names out of, but once again...I am just not up to blogging speed. So sad. I will recover. I'm like that broken ballerina that came back after two years in the 2008 documentary Ballerina...I think it is 2008. See...I'm spending my wired up after work hours and mornings watching everything on Netflix and pretending I'm sleeping but actually carding wool and spinning...oh yeah baby. Wait until I do blog again...lots of stuff happening. See that picture up there? Yeah, I spun that stuff on my homemade spindle (a dowel and a toy wheel). I am obsessed but still not motivated enough to take enough pictures and write a really good post or two. Soon. The prima ballerina will be back and better than ever. Yikes, that is too much of a set up. Rewind. Erase. Lower those expectations. Aghhhhhhhhhhhh. I should really attempt going to sleep. But, the Snow Lion of Tibet is calling (Netflix). Oh, that is the studio assistant snoring. Ooops, my bad.

Thanks to everyone hanging in there with me on this blog. You are better than I . Hope you all are living smoothly as you are able.

VOTE FOR MUTOPE...

2010-01-17T14:06:00.005-06:00

Vote for Mutope...and win a bundle! FYI, the works below are two watercolors by Mutope (I know, watercolors...can you believe that? He's amazing) Top image is entitled "Fences" and the bottom image is "Rivers".

This is a blatant new media plea for an old school kind of man. Mutope J. Johnson, a dear friend of mine and a fantastic artist and person (great husband, father, brother, son, teacher, coach...you name it...as I write this, he is out of state as a volunteer track coach for his son's team. I, on the other hand, am still in my pajamas sipping tea and rambling...for a great cause of course, so that scores me a few points). He is one of the most honorable and capable men I have ever met and I would hate for a lack of embracing a new media popularity contest to somehow be a factor in his chances to become the next deserving Artist-in Residence at the Pfister Hotel. Mutope should not be penalized just because he has a network of people who choose to limit their technological participation. Of course, he is on Facebook and I am certain that crew will rally! I am not on Facebook. I am a carrier pigeon.

So, anyway, last year the Pfister Hotel began an artist residency, and the time is near to select (on skill and competency for the position, one would hope) a new AIR (artist-in-residence). But, as are all things now days, the tweeting and the public voting have taken over to make something that should be a bit more thoughtful into a version of "American Idol". Can you tell I am not pleased about this? I understand it as a marketing ploy, but I think it is a bit demeaning considering the voters are not getting all the information on the artist, such as a person-to-person interview, looking at a body of work (artists have one to three pieces up at the Intercontinental Hotel's Gallery M for a few weeks), access to the career experience and relevancy for this AIR, what they plan to work on during the public residency, etc. (I call it a "public" residency because the artist is in a storefront space in the lobby of the hotel and everyone and anyone is able to drop in and watch work being made real-time and talk with the artist), their ability to interact with the public...not just through a machine (I mean, really, we can all be uber marvy when we don't have to look someone or a group of someones in the face). The measure of a star is that face-to-face charisma. At least an AIR star, in my opinion. The current AIR is Reginald Baylor, who is also at the top of his game and is a great person and communicator. Here is a link to some info about his residency and also there is a button to vote for the 2010 AIR.

http://www.thepfisterhotel.com/Hotel-Overview/artist-in-residence.asp

OK...so if you vote (either by web or by tweet...if you are tweet voting I am told that you should send it to @pfisterhotel and text the name MUTOPE...I could be wrong and if this isn't the format let me know but that is what it says on Third Coast Digest), email me at sonjisays@yahoo.com and include MUTOPE in the subject line and you could have a chance to win a bundle! Feel free to include a comment about your voting experience because I have the feeling I will be able to forward it all to the instigator of this bright idea for improvement...I could be wrong, it could be me being inept, but I have had a hard time voting. Anyway, I will put all the names in a newly crocheted hat and then select three winners. The catch is that Mutope has to win this portion of the jurying process. The Pfister will send out a notification and they also have a real-time scoreboard at the Intercontinental. I will warn you, I have had the worst time trying to get my vote in. I refuse to join Twitter and the other online option is not working well for me. I registered but it keeps telling me I am not. UGH. I am going to go down to the hotel and vote because it is only a few blocks away from where I work. I am also going to send an email to the FISTER (I am misspelling Pfister because I am childish and they misspelled Mutope's name on their site...I own my childish behavior, it is part of my charm) to inform them that these options are not functioning very well. Hmmm. Technology is as good as what you put into it. My contribution is sketchy, to say the least.

VOTE MUTOPE! Thanks. I have to get ready for work now. (NOTE: The voting seems to work better if you register and then vote the next day. Hmmm.)

~*~*~*

PS. I will have a Haiti post soon. I am not so vapid as to ignore such tragedy. But as in all our great worldwide natural disasters, the impact is long lasting and my little ramblings can wait a bit.

HAPPY NEW YEAR 2010!! End of 2009...a quick-ish overview (if not quick-ish, then at least entertaining-ish)

2010-01-13T13:48:00.002-06:00

I am not much for holidays (except for the overtime pay at work...love that each and every time), but I have always loved ushering in a new year, with the numbers changing and the idea of a fresh start for everyone all over the world (at least those participating in the concept...I realize some do not). Anyway, HAZAH 2010! And look at my head of hair to start off the new year...Yeah, it's been pretty ccccold, but this year I am not in need of a hat (which doesn't mean I won't make one). My hair is crazy warm! Plus, I appear to be about a foot taller than I actually am. My dream come true. LOVE IT!!!And check out the studio assistant, Julie. She is most happy in the snow and cold.

Just try and get a stick away from her and you will be making a visit to the chiropractor. Trust me, I know.

Now, all you kind readers are saying to yourselves (especially the aficionados of the blahblah...I apologize profusely to you especially), "Where ya' been? What ya' been up to, huh? Some explanation is needed Sonji...you can't just dive into blahblah without an explanation of absence...and no simple I-was-busy, we need a story. Something worthy of the blahblah."

O.K.

Here it goes...

I woke up one morning in November 2009 (yes, I know, it seems so very long ago but please bare with me)..As I was saying, I woke up one morning, a chilly late November morning, as it were, in 2009. It was snow less, so those of you who are familiar with my cold weather, snow and fleece obsession, realize this weighed heavy on my emotions. It was my first day of training (actually it would be my first late afternoon/evening/early morning at some points because I have a really funky schedule, which is cool but hard to acclimate the system to...excuse me I ramble, let us continue...) for my new job and I needed some inspiration...the kind containing caffeine. Oh woe is me...not happening. So, as is my habit when I am in this situation, I simply chewed a couple of the coffee beans and went about my business. Some find this a bit odd, but I tell you if Godiva can cover it in chocolate (which I am not so crazy about), then why can't I just munch on one plain? Well, I can. So, I did. And, I do. Well, actually I don't have anymore coffee beans left so I don't now, but I am getting ahead of myself. Excuse the ramble run-on. On second thought, maybe I had better finish this thought, then I won't have to figure out a way to get back to it. Anyway...Because I ran out of coffee that day back in November, I haven't had any since. At least not in my house. I have purchased a cup here and there from Alterra, but mainly me-of-the-caffeine is not so hooked as before. I have no opinion on it good or bad...just occasional longing, which is when I go and buy a cup. Surely this horrifying new habit of mine will change...not the chewing-of-the-coffee-bean part, rather the not-buying-coffee-beans-and-having-it-in-the-house-at-my-beckon-call-and/or-chew/brew part. I have had these coffee lapses before. I think a year is my longest. But the bean, it always lures me back. OK. Done with that thought strand. Next...

As you may have guessed, many many days/nights like the aforementioned caffeine-less situation played out...chew a bean, get a little energy spike and get on with the training (and that training was hard for me. My brain just isn't as orderly as most, but now it is and I am a acculturated). In the meantime, once rolled out of bed, I would dutifully dedicate myself to at least a half hour of tedious sewing of little ovals and leaves, not to mention embroidery and hand sewing because, as we all know, sometimes my stuff just can't fit under that machine arm. And, I must add, when "hand sewing" entails using an awl and a pliers...it just isn't as much fun as it could be. Then, Julie and I would go for a nice walk. I mean, I didn't make her wait to relieve herself ...I did let her out to do her business when I rolled out of bed to do mine. We just went for a leisurely and bonding walk after the art part of the regime was complete due to a new restrictive schedule involving regular-outside-of-the-home-employment.

I have been working on a seasonal landscape and cityscape series and I am sure, much to the chagrin of all, I am not going to show the finished pieces until I get them all done. YIKES! Don't worry, dear readers and loyal aficionados...there will be work other than those particularly fantastic pieces (probably the best work I will ever make in my entire life) and just think how wonderful the reveal will be for that. Nothing like anticipation. And besides, I may change my mind. Most likely I will change my mind. Gosh, I wouldn't be showing anything for a few years at the rate I'm going. Anyway...

So, because there is some down-time at work periodically, we are allowed to do whatever we want at our stations (within reason of course, you can't paint or play the guitar or make sushi or anything), as long as it is easily pushed aside. I thought I would get a lot of reading done, but the down time isn't bunched together enough to allow my mind to focus on what I am reading so...I thought I would be able to work on this quilt I have been trying to make for my goddaughter since she was about 3 (she just turned 6 and told me that she doesn't think we are going to get this done until she is 12 and I think she might be right about that ). We picked the fabrics out together, which took until she was about 4. Then, we cut up the pieces together, which took until she was about 4 1/2 and then we had to buy some more fabric because there was no way I was going to try sewing those unfortunately shredded pieces together. I am not that patient. But, hey, learning lesson for everybody there!

At 5, she helped me sew the pieces together...and by "help" I mean she sewed a couple of stitches and then said "I don't want to do this anymore" and proceeded to practice any number of fantastic song and dance routines she arranged herself. So, this is as far as we are now. It is laid out on a black design wall...we have all manner of fanciful fabric to add.

I love to hand sew, so...as much as she wants to assist, there will always be lots to do. My Mom taught me to hand sew by making doll clothes and toys, but I don't think Kam will ever be that interested in sewing, she just likes to see the result, which is fine. My fingers need to stay busy. I have always been that way. Even if I have to simply shred paper into fine bits. Hence...I learned recycled paper making. That's another story.

In such a tiny space at work, it is hard to visualize what to do next on our impromptu design, plus I was in serious need of an iron and that was not happening, so I resorted to my next favorite busy-fingers activity...crocheting. Finally, I would be able to use that yarn I had been stashing. I don't stash fabric (which is why we had to purchase fabric for Kam's quilt), since I paint my own for my art work, but I do stash yarn...for color, for texture, for price (a low one) and sometimes for snobbery (although not too much because I can't afford to be a snob too often, but I have and do indulge...trust me...can you say Etsy handspun yarn?). This is one that I made for myself and I have been wearing it nonstop. I tend to do double crochet a lot, I don't know why, and that is the stitch on this scarf. However, I think that a simple single crochet stitch is the most beautiful. A while ago I used a wonderful Berroco merino yarn (that has of course been discontinued, so I can't make one for myself, ugh) with a gradation of cream-being-poured-into-coffee color. Townsend, who in ten years has never commented on any crochet thing I have made, thought it was beautiful and I said "do you want it ?" knowing he wouldn't and he said "yes" . Of course I gave it to him. I have made a few simple scarves for people at work just using up the plain colors that I have. This scarf of mine is inexpensive yarn, but very soft and warm and I love the silvery gray color. I remember when I bought it and I wanted to dress in all gray (I still do). My gray fetish might be inspired by, you may have noticed, the gray coming into my hair at the speed of light (at least it seems to me). I like it, though. I have always wanted a head full of silvery gray hair and it looks like my wish is coming true. Anyway, that Berroco yarn of Townsend's scarf...I dream about it often. Maybe because it has the color consistency of coffee. I'm getting dizzy just thinking about it...yarn or coffee, I don't know which.

Next, I wanted to make a gift for a friend, and made this necklace and earrings for her. Now I want to make one for myself but I am too obsessed with crocheting at the moment. I even found a class to take in February so that I can learn how to crochet socks! I am not much of a pattern reader, if you hadn't guessed already, so even though I have a book I will learn much better this way.Finally, I got around to being able to purchase a skein winder and wind this beautiful hand dyed yarn given to me by Margaret and Debbie when I was down teaching at Tougaloo Art Colony a few summers ago. Margaret gave me instructions on how to build my own skein winder and even though I am a handy person, I didn't have it in me once I looked at the instructions. I just didn't want it enough. This is not a great picture of the yarn colorway but is is another nice shot of the studio assistant at work. I will get some better pics up when I do a stimulating post about my yarns at some point. Her yarns are just stunning.

Well...I think I even rambled myself out. I have no idea if I achieved a cohesive story...and honestly does it really matter? The long and short of it is that I have been adjusting to this new full time job and trying to keep on keeping on, as we say. Accomplished a bit of reading, a bit of quilt repair and a few other projects that, when they come to fruition, will be eagerly blogged about.

Here's to a fresh start to us all! Good and positive thoughts and actions to everyone out there.

Appropriation Police...to the bat cave!

2009-11-10T16:02:00.011-06:00

Alma Woodsey Thomas, Watusi (Hard Edge), 1963, acrylic on canvas, 47-5/8" x 44-1/4", Hirshhorn Museum

I was spending some time catching up on my "movers and shakers" art blogs (it keeps me all worldly and informed and some such stuff) and found that I had missed out on all the foolishness regarding one painting, of two, by Alma Thomas, that was...then wasn't, going to be on loan to the White House in Michelle Obama's office (surely, the grammar police will be after me because of that sentence-ish...well. probably most of the sentences-ish, in this entire post...the whole blog, if we want to be real about it).

It started with Edward Winkleman's blog, which I adore because it is so much fun, info and sass about the art world I never want to be a part of (did you know you that you, kind reader, may pick and choose your "art world"...yes you can!) Then, I started linking around the links (Winkleman's links , the links of his links, the links of their links and on and on...) and concretely decided that the entire controversy was a waste of time. A waste, first of all, because all artists appropriate whether they realize it or not, or admit it or not (and most will never ever admit it, because the unwritten rule is that if you "copy" or "mimic" or the more fancy-schmancy term "appropriate" in some form then you aren't creative...not really...and all the other artists in the super secret and special artists club know it, even if they don't say it to your face...dead or alive...they talk about you in a super secret code language, in a super secret and special artists club location where only those who generate concepts and imagery without any other reference are allowed). Honestly, I was so depressed (not), knowing I would be kicked out of the secret club when I realized that my pod/icon symbol looked just like an oak leaf (and who else besides me has seen one of those, hmmm?), and a Matisse oak leaf, at that. My creativity was doomed from then on. Or perhaps it was doomed when I started making a circle. I'm not sure anymore.

The second reason I find the controversy to be a waste of time is...Come on...do I really need to list another one? I do have a second one, though. If they say the painting didn't fit the spot or hung funny, then just take it for what it is. Geez, as we say here in the stix.

Now, what would a good quilter do in this situation? The obvious answer is, copy Watusi and make an art quilt out of it. Don't think I won't. I think we all should.

As is...$9.00

2009-11-08T19:03:00.005-06:00

Last month, I found this hand pieced and tied patchwork quilt at a local thrift shop called Value Village. What a find. It is the oddest patchwork I've ever seen, because of its unusual construction. I've always dreamt of finding a cool quilt at the thrift store. I'm not much of a shopper, though, and was in that store purely by accident because we were entertaining Xenobia Bailey, who had a day off from her Kohler residency (click here to see the installation of her fabu work). Della, Xenobia and I just stood there petting it, the two of them saying "oh, you better get it now". The following day, it would have been half price. Of course, it wouldn't have been there. So, I'm glad they nudged me into getting it.

It is made of small 4x4 inch fiber-filled stuffed "pouches". These are then sort of whip stitched together. Teeny tiny little whip stitching. This is the only patch that has considerable wear. The other areas I will be able to stitch back together. Although, one pouch is torn, I will probably be able to sew it back together and it will have a nice little scar.

You can see how tight the stitching is. It's crazy. Like the person was reinforcing the seat of a kids' pants that tore during play. I love it. I'm thinking this is the coolest way to create a patchwork quilt. I may have to try this myself. I am wrestling with whether or not to quilt it (by hand of course) and take those yarn ties out. Ties are O.K., but I'd rather quilt it with a reiterated square about half way into each square. The maker of this quilt was, like me, a person who got to their goal with an unusual construction method. My quilting soul mate...unknown, as is.

As the sidebar logo announces...

2009-11-02T14:14:00.013-06:00

I have been chosen as a finalist for a 2010 Niche Award in the Fiber Art/Art Quilt category. Hurrah! This is the nominated piece. I have to say that if personified, Medallion Structure I would be jumping for joy. She is well traveled and has been the recipient of quite a bit of press over the past year. And now this. If her parts weren't sewn on so securely, she might suffer from the same fits of fancy and downward spiral as some of those other overly photographed media divas (who shall remain nameless). The winners in all categories will be announced in mid-February, 2010 and of course I will relay the results.

P. S.: Here is a link to the Niche announcement page. Thanks to Karoda for the suggestion.

2009-09-28T20:30:00.004-05:00

Fall has arrived! You know I love my chilly weather and it is here today. Rain, wind...brrrrr. What if all snowflakes were this colorful? I wonder if I'd love snow as much. Little bit of embroidery today. Oh, it takes a long time to do such a little bit, but I'd like to get back to adding some. I used to be excessive about it, then went spartan. Perhaps, I've learned some moderation. On this part I will do the blackish area and then some coiled marks on the yellow. I haven't decided if I want to add a bundle or to make a dimensional icon for the center. I'm leaning toward the icon and I'd have to figure out how to make a small one, really small.

I still haven't completed the embroidery on the surface of "Corseted Landscape" . It's paaaaaaaaaaain, but I will have to buckle down and do it. I may change the whole thing, actually, but either way the embroidery is going across the surface. Heavy sigh.

I painted a few yards of canvas this weekend, most of it plain. This was the most interesting of the bunch. I use a lot of shades of gray and painted about 6 yards with purple and red underpaintings to give them a nice glow. Doesn't make for interesting photos though.

I'm going to get a lot of front and back fabric painted within the next month because in November I will start my new job as a captioning transcriber, full time. Instead of stressing about it later, I will attempt to make the best use of my time now.

My show is up at Narthex Gallery through November 1. It's a nice little space and I made three small pieces (two of them are on their site, along with Blue Landscape) especially for their small niches. There's a total of 6 pieces. I'm told everyone has been enjoying the work because it is so colorful and whimsical. Tomorrow, I will get to hear for myself because there is a concert and a reception for the musician...and me.

In Case You Missed It...

2009-09-04T13:09:00.003-05:00

My "One From Wisconsin" exhibit is over now. Thank you to everyone who went to see it. Many of my friends really went out of their way to show me that support and I greatly appreciate it. When I was participating in "The Moment" event at the museum, a lovely woman told me that she came back to see my work three times and brought new people to see it each time. My eyes got all watery-happy when she was telling me this. It's nice to hear that people like the work. So, for those of you who were unable to attend...I stood in the middle of the room and pivoted so you could view each wall. Enjoy.

NEW TOPIC... I will be uploading these newly made cards to my etsy store tomorrow. I was going to do it today, but the individual pictures that I took were extremely out of focus and I'll have to retake the images (that's what happens when shooting without the appropriate amount of caffeine). I was inspired to make some new cards after the museum demo I facilitated where everyone had fun making their own cards. I may even make some DIY card kits. Eventually.

George Ray McCormick, Sr.

2009-08-08T16:42:00.005-05:00

Services were held this week for a wonderful artist and person, George Ray McCormick, Sr. The links at the end of this post contain great pictures of George with his work at the Museum of Wisconsin Art, where he just had his exhibition in the "One from Wisconsin" gallery. I'm glad that so many of us attended and celebrated his talent. I'm glad that I got to give him a hug and kiss and talk with him at his opening. It's shocking that he is gone. I will remember his easy smile and I will treasure the self-portrait he gave me and the meaning behind it. Thank you for being a good friend, George. We will all miss you more than we can express.
http://www.jsonline.com/blogs/entertainment/52376047.html

http://www.jsonline.com/news/obituaries/52481732.html

My Studio Assistant

2009-06-26T16:53:00.010-05:00

I'm not someone who likes to involve others in my work, but Julie seems to know exactly when she is needed. When I left the room to get some books to weigh down those bulbous branches of the orange leaf, Miss Julie had already taken care of it.

This is the work, after my assistant deemed it ready to sew, of course. It is aptly named "RAMSHACKLE (Revised)" because it is "Ramshackle", revised. It measures about 58"W x 75" H, so it got narrower than the original and longer. I amputated the left side following the "Quilts: Another Dimension" exhibit and have been repositioning the bits and pieces since then. I thought perhaps I'd never be satisfied. Oddly enough, I found a strange little sketch I'd done for it while at a lecture in the very museum it will be hung in during August. Coincidence?

And where is my assistant right now, you ask? Sitting next to me, with one paw on the computer making sure I spell her name right.

Making the "Corseted Landscape"

2009-06-19T06:40:00.007-05:00

Posting two days in a row? You must all wonder what's up? Luckily, the stars and planets have aligned and I had a week off (back to work tomorrow), I'm in a good mood and I actually have something to write about. Hence...two posts, two days. This is a stretched canvas that measures 4ft W x 6ft H. The painting was made to cut up into the circular elements that went into my latest work called "CORSETED LANDSCAPE". As I always seem to note, I have a tendency to fall in love with the paintings as they are developing, unless I stop myself midway and reinforce "it's for the fabric construction, Sonji...this is not a painting!" BTW, that haze you see on the surface is a wash of gold metallic paint. It doesn't translate well.

Even in relaying this information to you, my fine readers, I feel that emotional surge tugging in my chest and a vice grip in my head..."I am a painting, Sonji. Proceed in a traditional fashion. You won't regret it. Go back from whence your little artistic brain came." But, I know in the end, I would be less than satisfied if I just kept painting away. The dimension and manipulation of the fabric is how I can make my images come to life. The physicality matters. I might need to get that talking thing in my head taken care of though. Hmmm.

And trust me, it was a sincere and vicious struggle to get all this under the machine arm. The brunt of the fabric is very plastic to the touch because I used artist acrylics instead of the watery craft acrylics. I'm not complaining (well, technically I am complaining), because as with all these works the painted surface is uber important and that tough hand is necessary. Hey, don't you think that some intrepid choreographer would become quite the success if they simply watched those of us who create large fabric works push and pull ourselves and our work? I always laugh audibly if I have to start using my left leg in order to balance part of a piece or to brace it on a chair and move the chair around with my foot. It is an odd dance. I know many of you do it as well. These detail shots show the incising, strip piecing (pieced prior to painting in 3 sections, which were then sewn together) and layering that create the visual "corset" reference. Both sides are painted. The non-viewed side is a copper/brown/gray surface. I refer to it as "non-viewed" because my original intention was to have it function as a two-sided work, but for whatever reason, it didn't go that way. I think I developed a primary obsession with the gray side. When Trish Williams came to visit, she thought it could still go that direction, but the way that I continued to construct it leads me to prefer the wall relief version and instead devote my energy to creating an obsessively coiled hand embroidered surface. The thought of it finished delights me. The thought of doing it ...not so much.

"CORSETED LANDSCAPE" measures about 54"W x 73"H and has a depth of around 6 to 8 inches off the wall, depending on how the wind is blowing. Just imagine a wave of coiled black embroidery across the lower third of the corset. Beautiful. Now, imagine doing it. Uh...still beautiful? Now, I actually went over and tried to jab that frickin' needle through that canvas (awl and pliers in hand) and I have to admit that I'm not exactly married to the idea of the embroidery. Maybe on the next one. Hmmm. Commitment issues.

"BROKEN LANDSCAPE", "BLUE LANDSCAPE" and "CORSETED LANDSCAPE" are all part of that visual comment I am making on the destruction and control human beings force upon nature. A corset binds a figure in order to enforce a particular set of beauty/sexual/social standards. It is physically harmful, if not emotionally and psychologically harmful as well. But one can recover from these assaults, just like the environment does when chemicals, burning and cutting attack it, desiring control and conformation to "make it better". The beauty of nature, is that nothing can really make it conform. It will react and always overwhelm the human hand that slaps it. The imposition of our desires is virtually meaningless, in the long run. I'm so deep (and slightly depressing...how did that happen?)...good thing these are making their physical debut at a museum. Just the thought put into them alone is worth wine and cheese and wall space.

Broken Landscape

2009-06-08T09:28:00.026-05:00

There was "Blue Landscape" , so one would think this would be called "Red Landscape"...but no. Its proper name is "Broken Landscape". It measures about 88" H x 64"W. I had to recover my design wall in order to get a picture of it because it just kept getting bigger than all my designated areas. It has the surface area of me with my arms outstretched top to bottom and side to side. Maybe it is me. I am a broken landscape. Hmmm.My goal is to emphasize the importance of the painted surface in this newer work. Also, the theme of landscape and natural and manipulated circumstances are of incredible interest to me. The idea of humans believing that nature can actually be controlled and all the efforts taken to do so. Hmmm.

The same structural theme applies to "Blue Landscape", the piece I completed before this one. Methodology: I paint a large canvas and view it as solely a painting, only about itself, in the constructs of my intention. Then, around halfway through, I start manipulating the surface knowing that I am going to cut it up and build an environment that is based on a particular theme, like formalized and tamed landscape or the invasiveness and destruction humans perceive as nature running its own course.

The detail shots demonstrate how the overwhelming color is red, but it travels the spectrum of cool blue/red to warm/orange red...subtle and limited, but also vast in possibilities. I have always been a big fan of limiting color use, but pushing what you are using to the max. Painting 201, eons ago, with Tom Uttech.

An important aside, check out the latest work of Trish Williams, who has discovered that she really does love the hand of the painted surface. She is challenging herself to make "sculpted" surfaces and they are looking uber-delish. I am hoping that if all works out, I will get to see these face-to-face when she travels to Appleton, WI for a presentation next week.

Blue Landscape

2009-03-10T23:51:00.006-05:00

"Blue Landscape" measures about 60"H x 50"W. I have a little bit of hand sewing to do on it, but it is finished for the most part. I have two solo exhibits coming up in August (at the Wisconsin Museum of Art in West Bend, WI) and September (Narthex Gallery in Shorewood, WI) and as usual I have to make a bunch of work. They are two very different spaces in size and expectation and I had two different ideas for bodies of work...one architectural (for WMA) and one landscape (for Narthex). Oh, I was so happy with myself. The problem, it turns out, I decided to check the wall sizes out and as I suspected, the pieces I'm making for the landscape series are a bit too big for the alcoves. My heart isn't broken, of course. I just won't have a super deep separation of the architectural and landscape work. Oh, well. So much for trying to be thoughtful.

detail...oooooooooooooooooooo...

detail...aaaahhhhhhhhhhhhhhhhh...

The big red/crimson circle has got to be my favorite part of this piece...and I'm so pleased with myself for being able to get the color differentiation in the photo.

With the landscape series, I'm focusing on the painted surface as a shattered base for all the flying and floating elements. Compare the above and below images and you will notice that the top has a more subtle surface variation due to some fused metallic blue swirls I added close to the completion of the piece. The painted blue surface is certainly textural and graphic enough on its own, but something was missing. The fused blue swirls helped to visually integrate the bolder swirls. Without them, everything looked much too separate.

Can you see the difference in the surface? This is the "before" shot. More is better used to be my chant and I'm stickin' with it (albeit in a more subtle version...if you can call my work subtle...hmmm). See how I was trying to be a bit too gentle with the spiral-ish stitching? It worked for direction but not surface integration. Blahblahblah. And here you will find a few shots to convey my stuffing-it-under-the-machine-arm frustration.

Anything to avoid three minutes of hand stitching, apparently.

All that cramming under the arm to stitch that little circle on. I debated for an entire cup of coffee and decided I would prefer the vicious machine work for this poor little circle.

More cramming in order to get that big, beautiful red/crimson circle sewn on. Yes, I debated between machine and hand sewing over still another cup of coffee and once again chose machine over hand. And even more caffeine.

More rolling and cramming. More coffee.

And last of all, the relaxed last little bit of the circle. Coffee. What you can't see is that I had another table that I had to keep moving around (with my foot) next to the main sewing table in order to prop up the fabric as I manipulated it. Coffee. Finally, the most relaxing, bit...making more coffee, you say...no. Ironing out the wrinkles.

(Updated)"Quilts for Obama: Celebrating the Inaugration of Our 44th President"

2009-01-18T11:48:00.003-06:00

NOTE: I am updating this post whenever someone involved in exhibition sends me a link or an image if they don't have an online reference. Thanks to all participating and to all those who keep checking back to view the work.

This is Bisa Butler's piece "One Vote Can Change the World". Bisa and I had the pleasure of meeting at the Textural Rhythm's opening in Baltimore last year and she is the most memorable woman...so congenial and beautiful and talented. Bisa is one of the best portrait quilters ever. Charlene Hughes graciously sent me these images of her quilts included in this exhibition. She writes, "This first quilt (Kuu Maui Aloha) is an example of what is considered true Hawaiian-style quilting. Two colors only, strong value difference (red and yellow) , echo quilting, symbolic."

"The second quilt (Kapa Apana) demonstrates what Hawaii is all about, showing the ethnic and cultural differences of the quilting ladies---all working together in harmony."

Thanks for the images, Bisa and Charlene. I can't wait to see the work in person.

Above, is my piece "The Path of Unyielding Hope". It will be included among the 60 pieces honoring Barack Obama at the Washington D.C. Historical Society from January 11-January 29, 2009 (however, a quarter of the work in the show will be taken down in the main lobby during the week of the inauguration...so try to visit before or after the date, if you are planning to see it or call ahead).

Roland Freeman, the curator, put this show together in record time, with WCQN leader, Dr. Carolyn Mazloomi. I must add that I completed my piece in record time, also. I prefer to mull over every detail to the full extent possible, but that wasn't happening if I wanted to be included. At first, when invited, I thought I should decline, but then I slapped myself back into reality and made myself a work schedule in order to finish it. Thankfully, our size requirements were under 40"square (although many quilts included in the show are larger).

Some of the quilts will, of course, be narrative, but luckily for me emotions and experiences don't necessarily have a graphic to go with them (if you exclude those email smiley faces). Trish Williams has work in the exhibition also (not narrative) and I was humbled by her blog post noting that my work had influenced her. Thanks, Trish. Some of the other wonderful exhibition participants have their Obama piece on line. Check out the work of Edna Patterson-Petty and Deborah Grayson Bailey and Lawana Holland. Dr. Carolyn Mazloomi provided a link to the Women of Color Quilt Network gallery displaying not only her quilt for the exhibition, but also the work of Gwen Aqui, Valerie White (or as I refer to her "the lovely Valerie White"), Cookie Washington, Denise Campbell, Viola Burley-Leak, Rosalyn Thomas, Carolyn Crump, Adrienne Cruz, Marion Coleman and Marlene O'Bryant Seabrook...I'm on there too. I'm everywhere lately, eh? (If you have work in this exhibition and have a picture of it on your blog or website, please send me an email at sonjisays@yahoo.com, so that I can link it to this post).

As I've noted numerous times, hope is what gets me through. Optimism with a plan I like to call it. The President-elect used the term "unyielding hope" in his acceptance speech, which is where the title came from. Hope is action to me and it has a varying path. It makes us better, makes our relationships better, our country and government better...makes our world better. Simple idea. If we can only put it into action...a little bit at a time.

And an additional note, Textural Rhythms is still traveling and is now at the State Museum in Albany, New York. Check out the great publicity for ME!!!! I mean for my work in the show. Uh, oh. The fame whore is raising her ugly head. BTW, Trish and I were yacking on the phone and surfing the web at the same time and she found this.

A Midsummer's Night Dream...

2008-07-20T17:47:00.007-05:00

Yes, I'm still kicking. No, I don't feel a huge verbal splurge coming on. I simply thought I would check into the blogosphere before even the slightest remnants of me vanished. I finally completed MEDALLION STRUCTURE I . It drifts onto the floor into viewer space and I absolutely adore it. It measures about 108"H x 60"W and will have its inaugural public debut at the University Art Gallery of Indiana State in September. Very exciting because there will be pieces by Faith Ringgold and perhaps Judy Chicago. Big time, baby. Big time. Mostly, I am pleased to actually have finished something. It's the first complete piece for 2008. Working the money-job is exhausting and detracts from the business of art making. Oh, well. One (meaning me) must do, what one must do, when one must do it. Over the next 5 months I will need to complete the other pieces I'm working on for what I like to call a 6 person solo show at the Anderson Art Center in Kenosha, WI. Each artist will have a room of their own to show their dimensional fabric work. This piece will be there along with other works of mine climbing the walls and creeping on the floor.

Best of all, this is my new canine companion, Julie (plus a 5x6 foot semi-stretched canvas with fabric for the liturgical banner I'm still working on). She is a 9 year old German Shepard mix, with a slight heart murmur. She is as sweet as pie. I never mentioned last July after returning from Mississippi, that my darling dog, Whoopi, died. She had stomach cancer and died just seconds before the vet was going to inject her to be put down. Townsend and I were holding her between us. It was all so sad. Too sad to write about. Even now. Anyway, all the working over the Fall and Winter at the museum helped remove me from numerous unhappy events that have been going on in my personal life. Last month, I decided that I really wanted to adopt an older dog and went on line to the Wisconsin Humane Society and there she was. I was immediately in love. Her previous human companion must have loved her very much because she is a gem. They didn't reveal why she was surrendered, but I am so glad we belong to one another now. Group hug.

Now, my friends, don't expect a renewed energy for posting out of me. I am working a regular work week doing art in city parks with children and it is exhausting having all that fun. Plus, the heat is horrible. I am all about cold weather and winter, so the heat is what is draining me. But, I will attempt to check in more frequently.

I have a couple of pieces at Peltz Gallery in Milwaukee for the big quarterly Gallery Night event coming up on Friday. That exhibit , "The Annual Phenomenal Women Show", will be up for two months. Lots of well known women artists, from local to international...and me, again.

This is Me Thinking Out Loud, Again

2007-11-04T18:07:00.002-06:00

I've wavered back and forth whether or not to post about my recent experience at a talk given by three well known curators from three various non-collecting institutions located in the East, West and Midwest. I don't want to seem insulting, nor do I want to burn bridges...not that I have any known bridges with the aforementioned individuals or institutions to burn. Still, I was so saddened after the presentations and I am looking for an outlet for it. I am looking for a remedy.

What I came away with was that the current (and surely past) power structure of the so-called art world, really could give a flying rat's ass about anything or anyone but itself and the oddities it elevates to an exclusive status. How did I come to this unfortunate conclusion? Well, it was presented to me through the content of two PowerPoint presentations and one failed interactive website presentation. I saw it all with my own eyes...nothing I could relate to, even as a person whose life is about embracing art, whose education is through the acculturated fine arts standards (BFA and MFA), whose mind and heart are openly pleading for something of substance.

I went to this talk and have purposefully been trying to understand what on earth is happening when I visit a gallery or museum or art center and all I see is a pile of trash and a flat screen TV projecting the generation of the trash itself. Or I see three TVs with timed videos examining how a white delivery truck drives from one location to another. Or perhaps I am asked to embrace or reject life size photographs (maybe digital, I can't remember) of hideously drunken frat boys or someones really pretty vacation photos with text. I never thought in regards to art I would hit the wall labeled "generation gap", but I have. I seriously feel my heart is breaking when I view this MTV generation stuff that is meaningless to me. And perhaps that is exactly what it is supposed to occur.

Mostly, I don't care because it is all so forgettable. What I do care about is that when I went home and researched these curatorial leaders, through on-line articles, I found one person (the most disappointing presenter of the evening) who was comfortable enough to state in writing that he "only appreciated art that alienated people". This is coming from someone who is the Director of Education at his institution. This person also stated at the talk I attended that he "didn't care if Joe Schmo on the street understood art." Wow. WOW. Another highly regarded professional prattled on about the difficulty of finding a pink poof chair for an installation. The resulting installation was apparently conceptually deep enough to become a traveling one. The other meticulously explained more video imagery of a guy sitting on a meditative platform in various environments. It just kept on coming. I was so sad. I am still sad.

I have also been listening to a series of pod casts, mostly about conceptual art around the country, and that has me sinking in the quicksand of whatever relevant contemporary art is supposed to be about now. Honestly, if I am someone who is trained and willing to embrace this sort of stuff AND I don't even want to view it because it has all become so idiotic and useless, what on earth does Joe or Jo Schmo think about "real" art? At this talk, there was all sorts of code language and slights about the type of work most of the artists that I know and respect do. I felt deflated. My friend Kathy (not an artist) came along for the evening because she wanted to know what I was always getting so upset about and she asked the speakers "so does a television screen have to be attached to it (meaning the art) for you to like it?" Of course, they said "no" but then issued a series of statements meaning "yes" or "there also has to be some one's trash attached to it" or "there has to be items submerged in bodily fluids, along with a video of mold growing and the artist discovering plantar warts on his/her own feet"...I'm being sarcastic of course, but surely this would all be viable "art" in the eyes of these professionals.

The institutional art world is very much a special "members only" club. I'm totally fine with new forms of art, but I'm not fine with the prejudice against what perhaps is now termed traditional art, the type most of us produce. The impact of Andy Warhol is like a disease when combined with slacker intellectualism and modern technology. My favorite dumb art question "is painting dead?" doesn't seem so funny anymore.

To be fair, I was sort of excited at the beginning of the talk because Agnes Martin's work was presented...she made really big minimalist drawings (and small ones, too). When I was in grad school, I went to the opening of a retrospective of hers here at the Milwaukee Art Museum, and as usual, got too close and had to be escorted away by docents. My date was horrified. He became an abstract videographer and installationist .

I don't have any delusions of being able to either infiltrate or alter the state of institutional art (they would probably faint if they knew I was labeling it so). I want a solution for myself, which is probably to just chug along the way that I have been. Or to build a completely different system...which, I must gratefully add, this fabu modern technology allows us all to do. By no means do I want to make it seem as if I am anti-video art or anti-installation art, because I'm not. I love meaningful and well-executed installations and video art. I've created two installations of my own and definitely find it to be a valid form of experiential expression. My gripe is in regards to a base line of prejudice against other forms of art as being "valid" for the contemporary art experience by those who JUDGE what fine art is supposed to be in our culture. Individuals who decide/influence what monies and energy go where in regards to art and its public presentation and historical sustenance should be able to remove their personal fetishes from the realm of their decision making.

OK. I'm sort of typed out over that, but I still have so much strife in my head and in my heart about art world stuff...surely, I will continue to ramble on about it. Toss some stuff in the mix.

Abusive? Me?

2007-08-21T19:41:00.002-05:00

My Janome New Home is in the shop for repairs. It was really a sad sad happening. I was super zigzagging away through something that I knew was way too thick for that machine, but I did it anyway...it's a trooper. And then nothing. Push the peddle. Nothing. Hmmm. I broke it. I'm sorry Jan. I don't seem to be able to cultivate appropriate relationships.

So, I took her into the shop for repair and Bob says "You are too rough on this machine. You batter it. This is a delicate instrument. A beautiful machine." Good heavens, yes, I know Bob. I'm abusive. I admit it. I'm not trying to hide that. It's perfectly evident. Can you fix her or have I killed her?

"This machine is not meant for that sort of thing." Oh, please stop scolding me. I know this. I've had enough trouble these past few weeks. You aren't my father nor are you Jan's dad. You are her "physician", so stop judging and get to diagnosing and repairing. I am still waiting for the sewing machine police to come to my front door and arrest me and book me on abuse charges.

This went on for countless minutes. The shaking of the head. The tisk-tisking. Onandonandonandon. I was rescued by his lovely co-worker (I forget her name but I should name a machine after her) who said "Have you ever thought of using an older model machine? Something all metal and sturdy, since you only use a zigzag and a straight stitch". Why, yes lovely co-worker...I used to use my Mom's old machine but it broke and I got this new fangled thing that is apparently a delicate flower, too precious to be man-handled by the likes of me. I am very interested in a sturdy mule-like machine. Do you have any?

She guided me by the elbow around the corner (they keep the elderly machines in a side hallway away from all the pretty young things) and my heart almost stopped. Two rows filled with refurbished, rewired geriatric puke green sewing machines. It was like a dream. Beautiful.
I found Jan's great grannie...an old Janome New Home. It's the best. It matches my favorite mug. There's no "up-down" feature for the needle, but this baby is solid. After a few minor incidents (confused threading, bobbin insertion issues and a misjudgment of needle position...through my index finger was not the correct position), we have settled into one another. Bob said he would call me when Jan had "recuperated" after her "surgery" and I have a strange feeling he's going to make me sign some sort of technical release form. Sewing probation.

However...in tribute to the supposedly frail young Jan, I present to you her workhorse heart. All the tough stuff was done on her before she collapsed. I just finished up the embroidery and design amendments over the past few days, though.

Architectural Study V (measures about 10x15 inches including the scraggledies on that falling bundle). I decided to remake some of the Architectural Study pieces. Yes, they were just ideas posing as work (very trendy indeed) but when I got ready to mount them the action was missing and I need that movement. I added the seed/circular elements and the falling bundle. I think I'm going to add some skinny stick-ish rectangular elements but I'm just going to wait a few days and see if it's me simply requiring MORE or the piece requiring a better compositional resolution.

Bundle Study 144 (about 5x6inches). I'm trying to simplify them, if that's possible. De-clutter the bundles...de-clutter the life.

Bundle Study 145 is actually a bit larger than usual, measuring about 6x10 inches.

And of course, I always appreciate when I am credited with being an inspiration of some sort... Jan Jackson (no relation to my sewing machine) has created a fun sonji-ish piece with the fabric she purchased from me. Thanks for sharing Jan. Your other work is totally amazing, too. And, to my Jan...I never meant to hurt you. I won't do it again. Only three layer sandwiches of the traditional sort(ish) for you from now on.