27 December 2017

Holly McLean interview: Overcoming distance and isolation

Waterfall by Holly McLean (detail, 2017) w11” x h20”
Holly McLean is a mixed media and fibre artist recognized for her richly thread-painted images of nature and the outdoors. The Bathurst NB artist is also known for articles published in magazines such as Quilting Arts, Quilting Arts Gifts and the online magazine, Through Our Hands. Working from her home in northern New Brunswick, Holly has often felt isolated from other fibre artists. Membership in SAQA has helped her connect with like-minded artists and show her work in regional, national and international venues. In this interview, Holly McLean talks about how she has worked with magazines and social media to expand her reach as an artist.   


Rosehips by Holly McLean (2015) w12" x h14"

How would you describe your art?

I see my pieces as being realistic with a touch of Impressionism and whimsy. They are heavily collaged and stitched, most often featuring the natural word. I sometimes work in a series, such as with my birch tree pieces.




Tell us about your process for creating. Where do you find your inspiration and how do you get from that to a final product?

Holly McLean (2017) sketch
I find endless creative inspiration in my rambles through New Brunswick forests, its countrysides and its beaches. I collect bits of flora along the trails, for sketching and pressing. I take pictures. Even in winter, I like to stop for a few minutes to do quick sketches. Back in the studio, I like to share these moments through words, pictures, sketches and through my fibre art. I have two favourite ways of working.

I use the pressed leaves, vines and flowers for mono printing onto fabric, using a gelatin plate and fabric paint. I make a series of prints in one session, later stitching and embellishing them, often using them for artsy but useful pieces like bags, pouches and sewing kits. (such as the ones featured in the Quilting Arts October/November 2016 issue) 

The sketches, photos and plant material are also inspiration for my landscapes in fibre, on which I paint, collage and stitch many layers, often embellishing with bits of yarn, ribbons, lace and beads. Certain pictures percolate in my head for a while as I consider how I might ‘paint’ the scene.



Sewing kits project by Holly McLean (2016)

What are the benefits of having your work published in popular magazines?

First there is the pay. Not all magazines pay for contributed content. I’ve received about $300 for each of my pieces published in Quilting Arts or Quilting Arts Gifts. My first article was a bit of a learning curve and took me awhile to produce. With more experience I now find that the payment equals the time spent.

The exposure is another benefit. I have built a network and taught workshops based on some of my articles, for example I lead a mono printing workshop and another on shibori trees, both based on previously printed articles.


What tips can you share with readers, from your experience writing for magazines?

Magazines look for articles that spotlight an artist’s work, but are not usually willing to pay for this type of submission. They also look for articles describing a technique – something that may be new or that puts a twist on familiar quilting, fibre art or surface design. 


Monoprint pouch project
by Holly McLean (2017)
Most publishers include submission information inside their magazine. They may request a short paragraph about the technique you propose to write about, together with two or three high definition photos showing details of the process or project. In my experience, the more precise the submission, the better. You may not hear back from them, but if you do, you may have as little as two or three weeks to write the article, send images and mail the finished piece. You can expect your artwork to be returned after about four to six months. 

The articles I’ve had published describe techniques I’ve experimented with. I often think about publication while I work, taking suitable photos to document my process and the finished project. This will save me time if my submission is successful.

You are an avid blogger, how does that experience compare to newer networking platforms?


I’ve been journaling on my blog for nearly a dozen years! It began as a way to document my process and projects. The blog also helped me connect with other artists and overcome the isolation I often feel. 

Recently, I’m getting more response on Facebook and Instagram. While I still enjoy blogging, it’s faster and easier to post pictures and a few lines on Instagram and Facebook together. As a result of these posts, I’ve gained a wide range of followers and have been contacted about teaching opportunities. All of these social media platforms provide opportunities for anyone wishing to develop workshops, write articles or sell patterns to supplement their exhibition work.
Early Frost by Holly McLean (2017) w7” x h10”


What are your goals for the coming year?



I have so many more natural scenes I want to create! I’m happy with my current style, but I’m always open to new approaches. I have a larger project in mind and have been considering applying for an art grant.

I also would like to continue exhibiting in SAQA shows. I’ve found that I don’t work well toward a theme, so I’ve decided to just follow my own inspiration and enter pieces when the theme fits. 
                                                   -----------------                                                   
Watch for more of Holly McLean’s artwork and textile explorations on Facebook and Instagram, and on her blog, Through My Window.


06 December 2017

There's still time to join SAQA and submit your work to our upcoming regional show, Transitions

Taliesin Mosaic by K. Madeloso, w30" x h36" Honourable mention,
SAQA Atlantic show, Structures
The deadline is quickly approaching for submitting entries for SAQA Atlantic's third regional show. All entries must be received by curator Heather Loney by December 31, 2017.

The theme for the show, Transitions, can be interpreted in a wide range of styles and techniques, from abstract to pictorial, from monochromatic to colourful, perhaps showing a metamorphosis, a passage in time, alteration or evolution through surface design and stitching.


Venues: 


Craig Gallery, Alderney Landing, Dartmouth NS, 
March 28 - April 29 2018
The opening reception will be on Wednesday, March 28, 7-9pm

Inverness Centre for the Arts, NS, October 2018
Saint John Arts Centre, NB, January / February 2019 
(more venues to be announced):


Juror:

Elizabeth Whalley is a Canadian artist living and working in Quebec, Nova Scotia and New York. She has exhibited widely and created many projects in New York including work for the TD Bank’s Art for Trees, Flux Factory and Galapagos Artspace. She was awarded a Canada Council travel grant, a McNair Scholars research grant, and a Pratt faculty grant. She received her MFA and an Advanced Certificate (PIMA) from Brooklyn College after studies at Concordia University, Montreal. She has taught at Adelphi University, Haverford College, Pratt Institute, Pont-Aven School of Contemporary Art, and Brooklyn College. She is currently Director of the Inverness County Centre for the Arts, in Inverness, NS.

Read all the details in the online entry form and guidelines.


Not a SAQA member?

Please note that this call for entry is for SAQA Atlantic members exclusively. 

SAQA membership offers so many benefits: regularly scheduled SAQA-Atlantic retreats, free online seminars, courses and other resource material, the SAQA Journal, and opportunities to enter your artwork into numerous international exhibitions. 

If you're not a member, it's not too late. Join SAQA today!



26 November 2017

Atlantic Blogwatch




As winter approaches, inveterate SAQA Atlantic bloggers Penny Berens and Holly MacLean have been reflecting on nature’s inspiration for their artwork. Coincidentally, both recently included observations about this year’s abundant crop of wild holly (ilex verticillata).




Inspired by Nature

Holly MacLean, Bathurst NB.
Work in progress
Holly MacLean’s blog, Through My Window, has been documenting her progress, from start to finish, on a piece inspired by a waterfall she discovered last summer

Over the past months, Holly has shared every step of her process, from producing a plan to auditioning the binding for the finished piece.








A Daily Practice
Penny Berens, Granville Ferry NS.
Work in progress.

In her blog, Tanglewood Threads, Penny Berens reflects on her latest experiences with her year-long Stone Pathways project. The project began last January, when Penny decided to create a daily stitched journal inspired by pebbles collected on daily walks.



Tune in to their blogs for images of the final products in the coming weeks.  

14 October 2017

Book launch and artist Q&A with author/illustrator Laurie Swim - November 4th, 2017



The Halifax Central Library will host Laurie Swim as she launches her brand new children's book Hope and Survival: A Story of the Halifax Explosion. The book, richly illustrated with Laurie’s unique artwork, tells the story of a young girl caught up in the aftermath of the explosion.

Laurie will read from the picture book and answer questions on art quilting. She will also give a talk about creating her monumental centennial quilt "Hope and Survival", which is currently on display at Halifax's Maritime Museum of the Atlantic. Some of the original snow-dyed and quilted pieces she created to illustrate the book will be on display at the library.


Where: Halifax Central Library, 5440 Spring Garden Rd, Halifax NS

When:  3:30-4:30 pm, Saturday Nov 4th, 2017

Admission: Free

Read more about Laurie Swim and her work on her website: 
https://www.laurieswim.com/


26 September 2017

 
Textile Journeys: Helene Blanchet, Anne Morrell Robinson, Adrienne Yorinks
 
 
 
 
Featured image: Anne Morrell Robinson: Underwater World

In October, the gallery of the Inverness County Centre for the Arts will be filled with colours just as our beautiful as our countryside. This textile exhibit will feature the work of local artists Helene Blanchet, Anne Morrell Robinson (members of SAQA Atlantic Canada) and Adrienne Yorinks.
 
 
Date/Time
Date(s) - Monday, October 2nd 2017 - Monday, October 30th 2017
11:00 am - 5:00 pm 



Opening Reception
Sunday, October 1 at 2pm

Artist Talk 
Friday, October 13 at 4pm
 
Helene ‘s masterful folk art inspired Fibre art work , ” Calgary Days” , is a series based on her stay in Alberta where she worked as a gardener. Beads, stitches, and a riot of colour reflect her life . Both artists’ love of all things textile will shine through in this special exhibit.

Anne’s exhibit, ” Worldly Influences” will be quilted pieces inspired by images, fabrics, and iconic patterns from around the world.
As accessible to our world increases by easy of travel and communication influences creep in from all corners of the globe. Migration and trade bring us textiles and designs that were once exotic and have now become accepted major influences to fashion and home decor. When we see them our minds still travel to the places of their origins as the designs suggest their heritage. My needle and thread take me there in spirit and have become my method of “arm chair travel”.
Find more information about Anne and her work at http://www.kingrossquilts.com.

Adrienne’s exhibition, “Quilted Journeys” will be a  sampling of work from several of her books; from Hummingbirds, dogs, and ducks to states and countries, and even outer space, the theme of journey is evident. The books represented are, Quilt of States, The Alphabet Atlas, Hummingbirds:Facts and Folklore from the Americas, Quack, and The Last Will and Testament of a Very Distinguished Dog.

31 August 2017

Please join Regina Marzlin for her artist talk and opening of her solo show, Textile Explorations.





Artist talk: Friday September 1st, 6:00-7:00pm

Workshop:  September 9th, 10:00am-1:00pm (Fabric collage)

Show run: September 1-30, 2017

283 Main St, Antigonish, NS

Ascending by Regina Marzlin w24" x h20"


Contemplation by Regina Marzlin,  w21" x h22"


Harvest Moon by Regina Marzlin, w24" x h37"


To learn more about Regina and her artwork, visit reginamarzlin.com.

29 August 2017

European Tour for My Corner of the World - Canada!

Rusty Gate by Penny Berens

Those of you following this blog know that eight textile artists from Atlantic Canada have work in My Corner of the World - Canada, a regional SAQA exhibition. 

Participating artists recently got the exciting news of the exhibit's upcoming tour of Europe. The pieces are now in France, being readied for a one-year tour with the European Patchwork / Carrefour European du Patchwork show circuit. 

The first two venues have been announced:

September 14-17, 2017: 
European Patchwork Meeting
Saint-Marie-aux-Mines, Alsace, France (Read about this premiere event on the tour website)


October 19-22, 2017:
Abilmente Mostra-Atelier Internazionale della Manualita Creativa 
Vicenza, Italy

Stayed tuned to learn where our pieces go next!

22 August 2017

SAQA's Annual Benefit Auction Opens Online September 15th. A great way to build your textile art collection!



In the Shadows by Regina Marzlin


The SAQA auction features hundreds of 12"x12" art quilts produced by textile artists from around the world. Lois Wilby Hooper, of Moore's Mills NB, Regina Marzlin of Antigonish NS and Fiona Oxford of Waverley NS all contributed art quilts to this year's sale.



Join in the fun!

The online Benefit Auction, SAQA’s signature fundraising event, begins September 15. This is your chance to own beautiful, unique art quilts by some of the world’s finest fibre artists. Plus, your purchases help increase the recognition for art quilts and the artists who make them, while supporting SAQA’s exhibitions, publications, and education outreach.
Autumn Breeze by Fiona Oxford


Have a look at how the auction works
You can view all the pieces on the SAQA website. Find your favourites and get ready to place your bids! 



19 June 2017

Please join the Textile Artists Collective for the opening of Fibre Focus at The Dart Gallery in Dartmouth NS.

A showcase of contemporary works in textile and stitch


Where:      The Dart Gallery
                  127 Portland Street
                  Dartmouth, NS

When:       June 22 - July 5, 2017
                 Tues - Fri 12-7 | Sat 11-5 | Sun 11-2 |

Opening Reception: 7:00 pm, Thursday June 22, 2017


The Textile Artists Collective 

The Textile Artists Collective is a small group of independent Nova Scotia artists working with textiles and other fibres. The art quilt, or quilted wall hanging, is our main focus, but we each push our own individual styles and vocabularies to achieve the goals of all artists: self-expression and the creation of visually stimulating and meaningful works of art.

During our monthly meetings, we share inspiration, techniques and information related to our work. We also discuss art concepts and the business of art, exploring opportunities to exhibit our work individually and as a group.

Our creative explorations include a wide variety of surface design techniques such as painting, dyeing, printing, stitching, quilting, weaving, felting, collage, appliqué, stencil, applying resists and embellishing with beads or small objects.

Please plan to visit our show between June 22nd and July 5th.


SAQA Atlantic Canada Artists participating in the Exhibition:
Cathy Drummond, Heather Loney, Susan Lilley, Kate Madeloso, Regina Marzlin, Fiona Oxford, Deb Plestid.

Also participating: Dawna deAdder, Karen Henry, Debbie Vermuelen.


Gallery contact: info@thedartgallery.com Tel: 902.404.7330

14 June 2017

Get ready to place your bids! The 2017 SAQA Benefit Auction, online from September 15th - October 8th

Fiona Oxford's contribution to the auction, Autumn Breeze, represents clear blue sky and autumn wind and colours. 

Autumn Breeze by Fiona Oxford, 12" x 12"

See all of the quilts on offer here: http://www.saqa.com/auction-quiltviewALL.php

The annual benefit auction supports SAQA's exhibition program and the transportation of major SAQA exhibitions to galleries and museums all around the world. 

The 2017 auction, online from September 15th to October 8th, kicks-off at 3pm Atlantic Time on September 15th with Diamond Day bidding - an early bird opportunity to purchase ANY quilt for $1000.  

BIDDING DETAILS

The 12" x 12" auction quilts have been grouped into three sections for bidding purposes. Each week, a different group of quilts will be available for bidding.  

The online bidding form will be live on September 15th at 3pm Atlantic Time for Diamond Day bidding.

Starting September 18th at 3pm Atlantic, bidding will begin on the first group of quilts, starting at $750 and reduced progressively throughout the week. The first bid on each piece wins. 

Throughout the auction, any piece in any section can be purchased at the Buy It Now price of $1000. 

More information on the bidding process is available here.



08 June 2017

Laurie Swim's Hope and Survival, the Halifax Explosion Memorial Quilt, opens Thursday June 15, 2017

Please plan to join Laurie Swim at the Maritime Museum of the Atlantic for the official installation of her four-year project, Hope and Survival. The community-built quilt project marks the path of tragedy and rebuilding after Halifax experienced the largest manmade explosion prior to Hiroshima. The installation is part of the MMA's special exhibits commemorating the 100th anniversary of the explosion.

Where: Maritime Museum of the Atlantic, Halifax 
When: Thursday June 15, 2-4pm. Opening remarks at 2:20pm. 



"This community art project involved hundreds of volunteers in beading the Braille for The Scroll of Remembrance that accompanies the centrepiece that I created over the past four years. Hope and Survival is a memorial to those lost in the Halifax Explosion a hundred years ago and a gift to the people of Nova Scotia."
Laurie Swim, June 2017

Read more about the Hope and Survival project on Laurie Swim's website and in a recent SAQA interview.



06 June 2017

SAQA's All-Canadian exhibition, My Corner of the World Canada, on display at the Ailsa Craig Quilt Festival, June 8th-11th, 2017

My Corner of the World (Canada) invited the artist to create a glimpse of the spirit of Canada; to convey through their art something true, meaningful and important about this beautiful country and its people.

Kate Madeloso (Nova Scotia) – Fundy Flame Agate
This juried show of 40 art quilts includes eight from Atlantic Canada. It has garnered much media attention during stays in Stratford and Thunder Bay. A Thunder Bay Chronicle Journal review stated:

“Words don’t do justice to the exquisite colour and artistry of the quilts on exhibit... You can’t rush through this exhibit. Each work will pull you in. Some will tug at your emotions, others will inspire memories, but all of them will make you think.”

My Corner of the World Canada will be on display at the annual Ailsa Craig (Ontario) Community Quilt Festival, June 8th-11th.

The exhibit is available for travel. Contact SAQA Traveling Exhibitions Coordinator, William Reker, to learn how to bring this wonderful art quilt exhibition to Atlantic Canada.

View the exhibition online.
Learn more about the exhibition.


20 May 2017

The 2017 Grand National Exhibition features three SAQA Atlantic Canada pieces

Congratulations go out to Deb Plestid (Tatamagouche NS), Kate Madeloso (Wolfville NS) and Kathy Tidswell (Burtts Corner NB) each of whom has a quilt in The Grand National. 

This year, the Committee of The Grand National challenged quilters: to create a work of quilt art that captures the essence of their part of Canada – its history, its geography, its cultural diversity, its traditions... reasons for celebrating 150 years of our glorious nation.

This prestigious juried quilt show will be on display until September at the historic Joseph Schneider Haus in Kitchener-Waterloo. 

Deb Plestid's Winter at Balmoral Mills takes Curator's Choice Award

Winter at Balmoral Mills by Deb Plestid, 58" x 37"

DP: Crisp, clear, cold, woefully underrated wonderful white winter. ‘Mon pays ce n'est pas un pays, c’est l’hiver.’ (My country is not a country, it is winter.), Gilles Vigneault.


Curator Susan Burke wrote:

For me, Winter at Balmoral Mills perfectly captures the spirit of the theme Oh! Canada… much as the singer-songwriter Gilles Vigneault has done in his unofficial Quebec anthem, Mon Pays.

Yes, many people world-wide, when they think of Canada, they conjure up the image of a cold, clean, white, winter snowscape, much as quilter artist Deb Plestid has created here.  As the Inuit have many words in their language for snow, so too has Plestid called upon a full vocabulary of quilted shapes to render a pristine drift of snow otherwise unmarred but for the long shadows of a pair of impatient snow shoes.  The viewer is quickly transported into the scene and the imagination races in anticipation of the wintery adventures that lie ahead…Oh! Canada.


Kate Madeloso - Home is on the Sea Ice

Home is on the Sea Ice by Kate Madeloso, 24" x 21"
KM: To the indigenous people of Canada, the polar bear is known as Nanuk - wise, powerful and almost human. This iconic sea animal is a source for stories, art and identity, as well as food and clothing for northern communities.

Ringed and bearded seals are the polar bear's main diet. Bears can detect seals' breathing holes up to a kilometer away.

This 'rider of icebergs' depends on habitat quality for survival. The loss of sea ice is a red flag to the current climate trend on our planet.

See more of Kate Madeloso's work on her blog.

Kathy Tidswell - My Peaceful Oasis

My Peaceful Oasis by Kathy Tidswell, 27" x 21"

KT: Early each morning I walk on the Trans Canada trail, steps away from my home in rural New Brunswick. Breathing the fresh air, I see wildflowers, majestic pines and an unpolluted river, and may catch a glimpse of fox, deer, an eagle and perhaps a person or two.

While travelling last spring in London and Bruges, I felt overwhelmed by the crowds. Relieved to return to my peaceful oasis, thankfulness for my special part of Canada inspired this work featuring 5 hand painted and thread painted ovals depicting sites from my walk.

See more of Kathy Tidswell's work on her website.

09 May 2017

A great experience: the SAQA “Creation to Curation” conference in Lincoln, Nebraska

(Photo credits and some writing credits: Maggie Vanderweit)

Regina Marzlin, our SAQA-Atlantic Canada Representative has just returned from her first SAQA conference, this year held in Lincoln Nebraska. Here is her enthusiastic report:


RM: The conference was a great success by all accounts. Really great fun, learning and networking. The Canadians there: Bethany Garner, Judy Martin and Maggie Vanderweit (all from Ontario), Jaynie Himsl (from Saskatchewan), Paulette Cornish (British Columbia), our own Christine Nielsen (SAQA board member, Nova Scotia) took many opportunities to connect. Here we are at breakfast, with instructions to be “goofy" for the photo!


Back row: Maggie Vanderweit, Regina Marzlin, Chris Nielsen, Jaynie Himsl, Judy Martin.
Front row: Paulette Cornish and Bethany Garner.

Regional representatives enjoyed two days of pre-conference workshops and tours. Led by the warm and wonderful Desiree Vaughn, Candace Phelan and others, we shared ideas for strengthening regions by building strong “pods” or "local connections” within large regions. This would mean that members in a local area could develop their autonomous self-directed group and benefit from SAQA’s amazing support and resources. 

So, we are always looking out for and appreciative of your ideas and initiatives to further that mandate. SAQA is about building community for art quilters and this means supporting each other in regular local meetings where possible. It can also mean exhibitions, retreats and zoom conference calls to include more distant members. We also learned about inspiring leadership, regional exhibitions, and getting grants for regional endeavours. 



Regional representatives, hard at work during pre-conference meetings.

Then, at the actual conference, we enjoyed 20 quick Lightning Talks on a huge variety of subjects. We had break-out sessions, panel discussions with Midwest artists and students from the local Textile and Fashion Department. I attended two workshops. One, presented by staff of the International Quilt Study Center, looked at the information we can gain from looking closely at both historical and contemporary quilts. In the second workshop, Candace Phelan helped us hone our presentation skills and "elevator talk”.

The executive and board shared great ideas and expressed their gratitude for our growing community. The hotel had a huge open indoor lobby where we all met for some meals and happy hour.


 Here’s a view of the hotel lobby from the 7th floor.

We had the chance to see all the new trunk show pieces in our SAQA Hospitality room during the conference.



2017 SAQA Trunk Show pieces on display in the hospitality room


We visited the Deeply Rooted show and the nearby Sheldon Museum Gallery- both wonderful. We also spent a whole day at the International Quilt Study Center and Museum, a must see venue for anyone. We enjoyed their great archives as well as the current shows: Luke Haynes' log cabins (pictured below), Linda Colsh’s “Like Breath on Glass", a Japanese collection and SAQA’s “Layered Voices” exhibition.


Luke Haynes' log cabin quilts at the IQSCM


Michael James' department tour
Visiting the UNL’s textile/fashion building where Michael James is head of department was such a treat too. Having him give tours and talk about his work there was pretty special.

Michael James was also our keynote speaker. He shared his journey as a ground breaking art quilter. His latest exhibition “Ambiguity and Enigma” draws from his experiences as primary caregiver for his wife, as she moved through the stages of early onset Alzheimers. It was incredibly moving. He also included some amazing quotes in his talk.






The silent auction this year raised over $13,000. Thank you so much to all of you who contributed your fabulous work!


Conference delegates bidding on the 2017 Spotlight Auction

SO HERE IS THE HUGE NEWS: the SAQA board, staff and executive director have chosen TORONTO as the 2020 venue for the first conference to be held outside the USA. This is a huge honour and vote of confidence for Canada. SAQA-Central Canada representative Maggie Vanderweit will chair the local organizing committee. I'm confident that she will do a great job, and we hope that all Canadian members will work together to create an event to remember and make us all prouder than ever to be Canadian art quilters!

Next year's SAQA conference will be in San Antonio, Texas, April 3-8 2018 and the 2019 conference will be in San Jose California - both fabulous destinations. I hope many of you will consider attending one of these. SAQA conferences are a unique opportunity to meet your favourite art quilt rock stars, make friends and celebrate being an art quilter.

I would like to acknowledge Arts Nova Scotia's financial support in awarding me a professional development grant to go to the conference.

28 April 2017

Laurie Swim creates Time Goes By

You'll enjoy this timelapse video, by Teresa MacInnes and Kent Nason, of Lunenburg artist Laurie Swim creating "Time Goes By”. A nine-months process condensed into a 4-minute video!


Time Goes By from Teresa MacInnes on Vimeo.

See more of Laurie Swim's work on her website

13 April 2017

Linda Finley interview: Illustrator and storyteller

String Theory by Linda Finley (2008) 36"x42"
Textile/mixed media artist Linda Finley creates magnificently detailed art quilts from her home in Bear Cove, a small community looking onto the approaches to Halifax Harbour.

Linda’s eclectic body of artwork evolves in response to social and environmental concerns and her ever changing interests. Her work is focussed on textiles, with print, paint, and occasional sculptural elements sometimes interjecting. Whichever the medium, Linda’s work demonstrates her passion for line, colour, and above all, story. 

Her academic background—in biology, mathematics and theatre—is also sometimes evident. Over the years, Linda has made quilts that tell stories of such complex issues as HIV/AIDS in Africa and the desertification of the Aral Sea, without becoming sombre.

In this interview, Linda Finley talks about her journey into textile art and shares her process for creating award-winning artwork.


How would you describe your work?

I think of myself as an illustrator and storyteller. I occasionally create pieces just for fun, but more often my pieces explore important issues. In spite of the sometimes unpleasant stories they tell, I aim to make them visually appealing.

I generally use appliqué to illustrate the stories, most often fused and applied with a hand stitch called the Armenian edge stitch. This technique allows me to create more detailed images. The backgrounds are usually densely hand quilted, providing a feel and texture that I just can’t achieve with machine stitch.



We Are All African by Linda Finley (2010) 48”x 62”


What was your journey towards becoming an artist working with textiles?

I seem to have been born with a pencil in hand and an uncanny ability to use it. I drew and painted intuitively at a very young age. Even so, neither my parents nor the school system encouraged my desire to become an artist, so at age 17 I headed off to university to study theatre, later transferring to biology and mathematics, eventually acquiring a PhD in biology.

I took up quilting as a creative outlet while raising three young children in a small Toronto flat, to avoid polluting their environment with oil, paints and mediums. Textiles were just beginning to be recognized as a valid artistic medium and I very quickly saw their potential to contribute an immediacy and emotional impact not usually achieved with paint.


Hour Glass Figure by Linda Finley (2012) 30”x31”

When we moved back to Halifax and I had more work space, I tried
making pictorial quilts for my children. One of these was accepted into Quilt Canada. Buoyed by this success, I made an appliqué piece comparing the artwork of the Celts with that of the North west coast indigenous peoples, having noticed that the artwork of the two cultures is astonishingly similar. The finished piece, Ash and Cedar, was also accepted into Quilt Canada, travelled as part of that exhibition to Japan, and was later accepted into the AQS show in Paducah Kentucky.

And so I had found my medium!


Tell us about your process for creating. Where do you find your inspiration and how do you get from that to a final product?

My initial inspiration can come from the news, travel, dreams; almost anywhere. It’s often just an inkling of an idea, and that’s when the work really starts. I do a lot of research, reading widely to improve my understanding of the subject matter and for visual cues. I make sketches, twisting the idea inside and out. And so the initial idea evolves, acquiring substance and a  strong visual reality. This research stage can be fairly quick or can take several months or even years. Much as I would like to, I can’t rush it. When I eventually get the "aha" moment, I feel an almost physical relief. I can then make a cartoon of the piece and begin to audition fabrics, which may be commercial, repurposed, or increasingly, cloth I’ve dyed or screen-printed myself.

I next create the applique images and let the piece sit for a time on the design wall, moving the images around on the background, or changing them up. Once satisfied, I stitch the piece together with dense hand quilting. Paint, print work, embellishments or text might be added at any stage in the process.


Carnaval des animaux (work in progress)

Carnaval des animaux (work in progress)



Carnaval des animaux (based on the work of Camille Saint Saens)
 by Linda Finley (2014) 30”x30
"

What are you currently working on and why?

Ships of the Desert by Linda Finley 30”x48" 
I’m about to tackle an unfinished piece about the desecration of the once abundant herds of white rhino in Africa. This very challenging piece has been sitting on my wall for nearly two years. I have a strong commitment to finishing it because I care deeply about the subject matter and because I owe its resolution to a loved and absent friend. It will, I hope, become the second in a series called Vanished, the first of which was Ships of the Desert, a piece about the desertification of the Aral Sea.


What are your goals for the coming year?

I hope to create several pieces for upcoming shows and to prepare a solo show for 2018.


What (non fibre) artists, either historic or contemporary, have inspired you, and why?

I have always enjoyed art history. There are very few artists that don't offer me pleasure, inspiration and an understanding of the value of art in defining what it is to be human.

Canadian indigenous art is my very favourite. Kenojuak Ashevak and Daphne Odjig have an almost heart stopping effect on me.

I am a huge fan of Freidenrich Hundertwasser. My first encounter with his powerful work literally took my breath away.

Surrealist Remedios Varo, one of the original inner circle of Surrealism, has long been a favourite. Printmaker Karen Kunc continually astonishes me. I am also deeply touched by the powerful prints and drawings of Kathe Kollwitz. 



What fibre artists are you interested in, and why?

I especially admire the work of Betty Goodwin and Louise Bourgeois, who have unapologetically demonstrated the value and beauty of domestic textiles. I also adore the touching simplicity of Janet Bolton's little fibre masterpieces.

Dorothy Caldwell continues to astonish me with her mark making masterpieces, as do Junko Oki, Jude Hill, and the wonderful Peruvian tapestry maker, Maximo Laura.

Dollmaker Kate Church’s characters enchanted me at first sight. They make my heart sing. My list could go on and on.


The Habituation of Mr. Morris by Linda Finley (2012) 38" x 47"

Do you treat art like a job, going to the studio each day at a particular time?

I don’t arrive in my studio at 9:00 a.m. every day, but I do put in the
hours and turn up most days whether or not I feel motivated. I find that work inspires art. Sometimes just having the fabric, sketch book or crayons in my hands will push me in the right direction. The most difficult thing has been acknowledging that the time for thinking, reading and planning is not time wasted.



How do you show and sell your quilts? Where can your work be seen?


I enter group shows when the opportunity presents and have sold work as a result. I am learning, through SAQA, to be more of a promoter and business person. My web site is a work in progress. I am also learning (after much resistance) the value of social media.

I recently took up a challenge to post my work on Facebook for six consecutive days. It turned out to be a most positive experience! I was surprised by the pleasure I experienced at having an audience for my work and overwhelmed by the support I received.



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Watch for more of Linda Finley’s work on social media. A complete portfolio can be found on her blog, Kite Borne-Threads

07 April 2017

Monoprinting Workshop with Holly McLean in Port Elgin, NB on May 13th, 2017

SAQA Atlantic Canada member Holly McLean, from Bathurst NB, is a regular contributor to Quilting Arts Magazine. She describes her upcoming workshop: 


HM: Monoprinting, or making one-of-a-kind prints on fabric or paper, has been around for centuries. In this one-day workshop we will use a pre-made gelatin mold (recipe will be supplied) as our printing surface. We will roll the paint onto the mold, add textures, and then print onto white cotton. 


Many things can be used to make interesting textures: pressed leaves and flowers, bubble wrap, lace, empty spools, grids from berry containers, craft foam, etc.


Participants will select one monoprint to work with, adding batting, hand stitching and embellishment. This sample can later (at home) be incorporated into a small project such as a sewing kit, as featured in Quilting Arts Magazine, October/November 2016.

The class fee of $60 will include paints and foam to make stamps.

For further information or to reserve your space please e-mail me at hollymclean5(AT)gmail.com


Looking forward to seeing you in Port Elgin on May 13th!






05 April 2017

Call for entry for third SAQA Atlantic regional show: Transitions

SAQA Atlantic Canada is excited to announce our third regional juried show, curated by Heather Loney. The theme for the show, Transitions, can be interpreted in a wide range of styles and techniques, from abstract to pictorial, from monochromatic to colourful, perhaps showing a metamorphosis, a passage in time, alteration or evolution through surface design and stitching.

Deadline for entry:  December 31, 2017

Linda Finley's Ships of the Desert (w30” by h48") was awarded Best of Show
in SAQA Atlantic's last regional show, Structures.


Premiere Location: 

  • Craig Gallery, Alderney Landing, Dartmouth NS, April 2018

Additional venues to date (more to come):

  •  Inverness Centre for the Arts, NS, October 2018
  •  Art Centre Saint John NB, January / February 2019 


Juror:
Elizabeth Whalley is a Canadian artist living and working in Quebec, Nova Scotia and New York. She has exhibited widely and created many projects in New York including work for the TD Bank’s Art for Trees, Flux Factory, and Galapagos Artspace. She was awarded a Canada Council travel grant, a McNair Scholars research grant, and a Pratt faculty grant. She received her MFA and an Advanced Certificate (PIMA) from Brooklyn College after studies at Concordia University, Montreal. She has taught at Adelphi University, Haverford College, Pratt Institute, Pont-Aven School of Contemporary Art, and Brooklyn College. She is currently Director of the Inverness County Centre for the Arts, Inverness, NS.

Read all the details in the online entry form and guidelines.

Please note that this call for entry is for SAQA Atlantic members exclusively. Not a member? You can join SAQA here!