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Mary McFerran: Reaching Beyond Myself

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1. Mary McFerranTSGNY: Do you call yourself a fiber artist?

Mary McFerran: I’m a fan of “mixed media.” I do work in textiles, mostly embroidery and fabric collage. But I also incorporate found objects, painting, and printing.  And I’ve started to work with some simple structural elements like wire, cardboard, foam core, and wood.

“Mother,” 2017, 22” x12”, print, stone, wire, paint, photo.

TSGNY: How would you describe your working method?

MMcF: Drawing has always been at the core of my work: drawing as mark making and as a tactile approach to defining space. I usually get an idea for a piece or project and make notes in a sketchbook, but not elaborate drawings. Sometimes I do make more involved drawings as a way to “warm up” and get the juices flowing. Another way I begin working is to assemble a variety of materials, which can include scraps of fabric, photos, rocks, whatever I have around, and arrange the assorted elements until I’m satisfied with the composition.

Work in progress, 2017, drawings and photos for “Ancestor Museum”

TSGNY: How did textiles become a part of your practice?

MMcF: I was working on a collage and experimenting with glues to attach various found objects when I realized sewing was the solution. This led to my realizing that embroidery was mark making, like drawing.

“Eternal Love,” 2017, 21”x 19”, textile, print, wire.

TSGNY: What kind of artwork were you doing before you started working with textile techniques?

MMcF: I was drawing and doing watercolors on paper. I discovered the world of textile art when I was living in London and started taking some classes at City Lit College (an adult education center). It felt so right for me. My textile work started with simple and minimal line drawing using the backstitch, then expanded to surface-design techniques and printing on fabric.

“She Sleeps,” 2011, 15” x 11”, embroidery, cotton, thread (detail).

TSGNY: Does your current combination of media enable you to do things you couldn’t do with drawing and watercolor alone?

MMcF: Mixing media and working in fiber arts allows me greater freedom to experiment with my ideas. My background was in academic fine arts and it seemed like there was a weight from the history of painting and printmaking that I don’t feel with fiber work. Even though there is a strong historical tradition of women in craft and sewing, they seem more open, with endless possibilities of new techniques and combinations.

TSGNY: Do you intend to keep adding new techniques?

MMcF: I’m always tempted to try new techniques, but I think I should try to limit myself to avoid getting overextended. I’ve set myself the personal challenge to improve my standard of craft. When I am in the flow of an idea I just want to work, not take time to perfect things. This can sometimes lead to messy work habits.

TSGNY: How do you combat that tendency?

MMcF: I try to force myself to take my time. Hand sewing can be helpful and I might reserve areas of a piece for hand stitching. I also work on several pieces at once. Research helps by forcing me to slow down, engage in reading and observing, rather than just making.

“My Son, the Doctor,” 2017, 50” x 35”, section of The Ancestor Museum installation, mixed media, box, assorted textiles, paint, bottles , print on fabric.

TSGNY: How big a role does research play in your work?

MMcF:  Research is a mainstay of my practice. The “outside” information enriches my internal tendencies and helps me reach beyond myself. Several recent projects grew directly out of research. “The Ancestor Museum” evolved from research into family genealogy.
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TSGNY: How did your genealogical research lead to “The Ancestor Museum,” and can you tell us about the scope of that project?

MMcF: As I found familiar names on census records and in old city directories, I imagined my grandparents and great grandparents as children living in their family units in the old parts of the city, or in the towns I had always heard of. I read about Irish immigration and estimated the years that my ancestors came to America. Objects that I had saved from my own grandparents combined with photographs, my memories, and family stories started to coalesce.

“Collage,” 2016, 21”x 18”, Spoonflower © print.

MMcF: I took photos of some of the “heirlooms” in my possession, which are mostly everyday items that are interesting to me because they mingled closely in my family’s lives and retain that energy. I printed the photos on fabric and combined them with textiles or other objects to create assemblages, almost like small shrines. In my open studio installation, I included the original objects along with the artwork. I’ve also created a book that is a catalogue of my art and includes family stories and memories.

“Barbara Connelly-glovemaker,” 2016, 12” x 12”, mixed media, box.

TSGNY: You mentioned that other recent projects were driven by research…

MMcF: I became fascinated by the Jungian interpretations of beasts in fairy tales in Clarissa Pinkola Estés’ “Women Who Run With the Wolves.” That eventually led to “Wolves, Brides and Fairytales.”

“Lessons from mother wolf ”, 2016, 32” x 24”, burlap, dye, stitching, rope.

TSGNY: How did you get from Estés’ Jungian interpretations to your “Wolves, Brides, and Fairytales” installation?

MMcF: By interpreting age-old myths and fairytales, Clarissa Pinkola Estés creates a new reference for readers to understand our own psyches. She posits that within every woman lies a powerful force, filled with good instinct, creativity, and ageless wisdom.

“Wolves, Brides, and Fairytales,” 2016, installation – rear view.

MMcF: Estés presents the wolf mother as an archetype of fierce knowing and a protector of her young. She suggests that — like wolf pups — women need a similar initiation, to be taught that the inner and outer worlds are not always happy-go-lucky places. Women need to listen to their intuition to know when to walk or run away from a predator. The example of the Bluebeard fairytale is a good one: when Bluebeard leaves on his journey, his young wife does not realize that even though she is exhorted to do “anything she wishes-except that one thing,” she is living less, rather than more.

“Wolves, Brides, and Fairytales,” 2016, installation – side view.

MMcF: As a mother of two daughters, the mother wolf medicine resonated with me. So many challenges in life have no clear solutions. One must rely on intuition. This is something women know deeply, if they are encouraged to do so. My “Wolves, Brides and Fairytales” installation aims to convey/conjure archetypes by displaying wolf images, text from fairytales, drawings of young and old women, and a variety of earth and natural elements. The installation is designed so the visitor can walk through a forest-like path and discover hidden parts of herself.

“Wolves, Brides, and Fairytales,” 2016, installation – front view.

TSGNY: Has your shift in process from drawing and watercolor to mixed media and installation changed your outlook as an artist?

MMcF: It’s become less of a goal to show my work in a gallery setting. I’m interested in alternative spaces, especially for installation. I’m also interested in community work that allows me to teach or share skills with others.

TSGNY: Finally, are there any living artists who inspire you who you feel we should be aware of but may not know?

MMcF: Well, I’m certainly inspired by some well known artists who are no longer living. I’d start with Louise Bourgeois’ autobiographical work, her drawings, use of fabric, and installations. Agnes Martin is a longstanding art hero of mine. Although I could never be as restrained as she is, I admire her for that very reason. Her ideas about imperfection and spirituality resonate with me. Robert Rauschenberg’s show at MOMA blew me away. He was experimenting with so much. I love his collaborations with Merce Cunningham and Trisha Brown. As far as living artists, Tracy Emin has been a big influence on my work. Her style of irreverence has been very freeing for me. I like her distorted drawings, and the way she’ll use any material to express her ideas. Among fiber artists, I would include Tileke Schwarz, Alice Kettle, Hannah Lamb, Shannon Weber, Cathy Cullis, as well as more familiar names like Sheila Hicks, Judy Pfaff, and Elana Herzog.

TSGNY: Thank you, Mary. You can learn more about Mary’s work here.

Lisa Lackey: Always A Maker

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TSGNY: How do you describe your technique?

Lisa Lackey: I refer to my work as textile paintings. Fabric and thread replace the medium of paint on a canvas.

"The Conversation 5/6," 20" x 16", fabric, thread and acetate on canvas, 2014

TSGNY: Is this a recent development in your way of working?

LL: It’s been a gradual evolution. From my earliest memories, I’ve always been a maker.  I am always making something. Starting in my high school years, I began learning how to work in practically every medium, as I explored to find where my passion lay. That exploration and learning of processes made me a versatile art teacher — my profession for the last 18 years. But it wasn’t until I returned a few years ago, full circle, to my childhood love for sewing that my work found its genre.

"In the Shadows 5," 30" x 24", fabric and thread on canvas, 2015

TSGNY: Does working in thread enable you to do things you were not able to do in other media, like painting?

LL: I’ve never been a painter. I tried it along the way and was never enamored with it.  What I’ve always loved to do is sew and piece things together. There was a time when I made all my own clothes, and even had a business designing and manufacturing a line of women’s clothing. About three years ago I kind of stumbled onto collaging fabric and using hand and machine stitching to develop the details of the image.  When that happened it was like a light bulb went off.  All my artistic “parts” finally coalesced into an art form that spoke to me.

“The Conversation 4,” 20” x 16”, fabric, thread and acetate on canvas, 2014

LL: I bring to my current work everything I’ve learned from working in other media. Taken directly from photographs, my images are about the culmination of everything compositional: depth of plane, color, pattern, texture, and positive/negative spaces while witnessing, capturing, and recording unadulterated and universal moments in time.

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“Sister’s Foot,” 14” x 11”, fabric and thread on canvas, 2015

TSGNY : Does working in thread pose challenges you didn’t face when working in other media ?

LL: The biggest challenge in my work is size: both small and large scale. If the image is too small, the fabric pieces disintegrate under the pick of the needle.  And if the work is too large, it no longer fits under my sewing machine because of the stiffness the canvas creates.

“Selfie 103115,” 16” x 12”, fabric and thread on canvas, 2015

LL: Stretching the work for hand-sewing was another challenge I had to overcome.  The thickness of my work prevents it from being put into an embroidery hoop or wrapped around a quilt frame.  To solve this dilemma, I ended up developing my own stretching frame, inspired by frames used to stretch drying animal skins.  I lash my canvases to a wooden stretcher frame using a series of buttons and drilled holes. This gives me the tension I need to do the hand embroidery without the work becoming crumpled and distorted.

"Skin Frame Detail," 18" x 18", embroidery thread on canvas, 2015

LL: I like the stiffness of canvas, the white of the gesso and the texture.  It helps me keep the work flat and undistorted even after much sewing. I love the graphic quality of a flat solid plane of color and abhor when bubbling occurs on any large area of fabric. Although I fuse the fabric down, I machine-sew each of the fabric edges down for extra stability and because I like the way the outline looks.   When a piece is too big, I run the risk of it delaminating after being curled and re-curled to fit under the sewing machine’s foot. I am currently working on a piece that will finish at 36” square, a size I have never attempted before and am not sure how I will accomplish.  It will definitely stretch my process to a new level and probably add a few more gray hairs to my head!

“Sisters: The Other Feet,” 11” x 14” fabric and thread on canvas, 2015

TSGNY: Who inspires you?

LL: I love the work of Alex Katz, Chuck Close and Georgia O’Keefe. Among current artists, the sewn portraits and recent paintings of the verso images by Cayce Zavaglia are amazing.  When I saw one of her portraits in person for the first time, I was struck by how small it was. Its scale creates an intimate almost private experience with the viewer.  Then she turned them around and showed us the backs, or “verso” as she calls them.  Her latest work is a return to her painting roots, where she is painting those verso images on enormous canvases, thread by stunning thread.

My most recent influence is an artist I stumbled onto by chance: Lori Larusso. Her paintings have a wonderfully simplified, bold graphic quality that I love. At first glance, they actually tricked me into thinking they were fabric, and not acrylic paint at all. In some of the pieces, like those in the series “It’s not my Birthday,” it almost feels like you could lift each color and peel it away as if it were tactile.

TSGNY: Thank you, Lisa. You can see more of Lisa’s work on her website and in her book, The Composition of Family.

Linda Friedman Schmidt: Transformation Through Clothing

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TSGNY: What role does fiber play your artwork?

Linda Friedman Schmidt:  I am a self-taught artist, and discarded clothing is my paint. I start with discarded clothes of all kinds, everything from swimsuits and lingerie to socks, sweaters, pants, dresses, shirts, coats in all types of fabrications. I use natural and synthetic materials, solids and patterns, knits and wovens, although I have stopped using wool because it presents extra conservation problems. Each finished work contains many pounds of discarded clothing.

I cut these castoffs into strips by hand. The cutting is an important part of my process and pleasure: the breaking down of the old. It also provides a needed respite from the visual concentration required for hooking in a painterly fashion.

Studio with work in progress.

TSGNY: If the clothing is your “paint,” do you always use the material in its original colors?

LFS: Yes. Nothing is dyed.

TSGNY:  Once you have the strips prepared, what happens?

LFS: Before I start a new piece, I create a “mood board” the way a fashion designer does, with inspirational photo clippings and swatches. As I work, I alternate hooking and cutting, deciding which color I want next as I go. I hook the strips onto cotton warp cloth with crochet hooks or rug-hooking hooks, which are like crochet hooks with a more substantial wooden handle. My hook is now a unique shape. It has conformed to my technique and become crooked from my handwork. I hope it never breaks. My hooking technique is not the same as that of traditional rug hookers because it is self-taught and remains the same today as when I began. I work on a large custom-made frame with rollers on the top and bottom, which means I’m unable to see all of my large works in progress at once.

"Ridicule," 2012, 22" x 21", discarded clothing.

LFS: My slow method of creating a portrait is to break the human face into individual bits of information. Working on one section at a time enables me to give undivided, painstaking attention to every detail.

"Tear," 2012, 20" x 14", discarded clothing, placemat, acrylic.

TSGNY: You mentioned that you are self-taught. How did you arrive at this technique?

LFS: In 1998, I was at the local library, waiting for my daughters to choose their books. I was browsing the shelves and saw Rag Rug Inspirations.  I had never seen a hooked rug, nor ever heard of rug hooking. I was generally unfamiliar with folk art.  And I was not at all interested in making rugs. But the transformation of the rags grabbed my attention. I was looking for a way to continue my life’s work of transformation through clothing and realized that this was another way to do it.  When I got home I experimented with a crochet hook and a piece of burlap in my lap and taught myself how to hook. I felt an immediate affinity for the technique, and a strong impulse to hook every day, although I never had an interest in making rugs.  My interest was — and remains — transforming clothing.

"Exposure" (self-portrait), 2011, 51" x 44", discarded clothing.

TSGNY:  What kind of artwork were you doing before this?

LFS: I did not start making artwork until I was 49 years old. For many years I was an artist “in the closet.” I’d known I was an artist since early childhood, dreamed of being an artist when I grew up, but my family only valued my academic achievement. I begged to go to one of the NYC specialized art high schools but was not allowed to apply, nor could I attend an art college.

"Push," 2010, 20" x 33", discarded clothing.

LFS: As a pre-adolescent I became interested in fashion illustration and began experimenting with the idea of transformation though clothing. Fashion illustration led to an interest in fashion design. I began deconstructing and reconstructing old clothing into trendy new styles for myself. In my late teens I crocheted art-to-wear sweaters and accessories using geometric shapes that I transformed into fashionable styles. Julie Schafler (of Julie’s Artisans Gallery) discovered me wearing one of them, before she had the Madison Avenue shop. I also sold some of them at the original Henri Bendel store, where I started working as a salesgirl in 1971. At 21 I sold  ideas for creative transformations to Woman’s Day, which wrote: “Seeing possibilities for an entirely new life for everyday objects is a gift.”

TSGNY: No wonder you say that transformation through clothing has been your lifelong theme.

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"My Own Two Feet," 2013, 46" x 36"; discarded clothing.

LFS: In 1973 I appeared solo on the cover of Women’s Wear Daily, snapped on the street as a chic, super-stylish New Yorker – but unbeknownst to them, I was actually wearing my own thrift-shop transformations. That same year, at 23, I took my $10,000 life savings and opened a tiny women’s retail specialty store just a few blocks from Bendels. I called it LONIA (my birth name, which had been changed on our arrival in the USA). At the beginning I did not have enough capital to stock the store and created much of the merchandise myself. I also developed a passion for visual merchandising, an art form that’s also about transformation and embellishment. The challenge was making any and all merchandise gorgeous and desirable. I was regularly written up in national and international publications about visual marketing and was even awarded a patent for visual merchandising display forms I designed. After closing the store in 1987 to become a mom, I occasionally collaborated with my husband, an architect, as color consultant on his jobs. In 1994, I won the Benjamin Moore Color Award, presented by the American Institute of Architects for best use of color in an interior.

"The Scream Within," 2007, 27" x 30", discarded clothing.

TSGNY: Once you started working in this technique, did you find that it posed any particular challenges?

LFS: One challenge is that I cannot produce quantity. Galleries are looking for artists who produce large amounts of art. My process is labor intensive to the extreme. One of my artworks can take as long as six months. This means I have less work to choose from when submitting for exhibitions that require art to have been created within the past two years.

But for me the pleasure is in the process. There is joy, peace and love in the creation. This is my spiritual journey, immersed in every detail, experiencing the pleasure of the now, the hands working, moving in a steady rhythm, the rhythm of life. When I finish a piece I feel sad. I may have fewer pieces to choose from for exhibition entries, may not have a gallery representing me, but my work has been extensively exhibited in top-quality exhibitions and curators are beginning to know my art and request specific pieces which they invite me to exhibit.

"The Bad with the Good," 2009, 41" x 43", discarded clothing.

LFS: Will new technology become another challenge? Photographers and artists are already using technology that facilitates the printing of any photo onto a textile and the weaving of any image into a tapestry. Will this devalue the work of textile artists? A gallery in New York City is representing a photographer who gets his photographic images woven into tapestries he orders online. We are a fast-food nation and now there is instant textile art. What is the message?  Does this devalue handwork?

TSGNY: Although you break down your images into tiny units that might be analogous to pixels, you are clearly committed to creating those images through handwork. Do you think your process enables you to do things you wouldn’t be able to do in another medium?

LFS: Yes, because clothing is our second skin, an extension of the self, it is an autobiographical medium that evokes memories and deep feelings. Discarded clothing can represent devalued, dehumanized, and discarded humanity. It is laden with the symbolism of forgotten past lives.  Clothing can serve as relics of victims. My process enables me to rescue and give new life to this discarded humanity. It allows me to transform a painful past.

"Fear of Moving Forward," 2011, 49" x 38", discarded clothing.

LFS: This medium also enables me to connect with the countless others, long gone, whose garments live on in my work. It represents the profoundest level of intimacy, enabling me to touch strangers and interweave the energy of many with my own.

As a teenager I learned that clothing could be used to gain visibility. It is still helping me gain visibility as an artist.  We’re all aware of the stigma attached to textile art in general, which makes it more difficult to be taken seriously by curators of contemporary fine art, and harder to get into exhibitions other than textile exhibitions. I have overcome this  because my work uses textiles to carry a powerful message of transformation and healing. I am telling my own story, but also retelling the stories of our common humanity. I depict the emotional universe. I expand the genre of portraiture into larger social, cultural, and political issues:  race, gender, immigration, human rights, war, and power.  In addition, my artwork is about recycling, a rebuke of materialism, a concern for the environment. I am not afraid to make viewers feel awkward, uncomfortable, to raise issues that are disturbing.

"When Every Day Is Halloween," 2008, 27" x 32", discarded clothing.

LFS: I needed freedom from clothes that were binding, and now I use clothing to refashion my life, transform sad into glad, old into new, ordinary into extraordinary.

TSGNY: Finally, are there artists who inspire you whose work you would like us to know?

LFS: Artists I admire include Chuck Close, Alice Neel, Marlene Dumas, and Christian Boltanski.

"Sustenance from Strangers" (self-portrait), 2010, 36" x 33", discarded clothing, home textiles border.

TSGNY: Thank you, Linda. You can see more of Linda’s work on her website. She is also exhibiting at CONTEXTILE 2014.

Ann Roth: Planned and Unplanned

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TSGNY: What is your fiber technique?

Ann Roth:  I work with the simplest of all weaving patterns — plain weave — but I use fabric strips for both warp and weft. The warp starts as whole cloth (100% cotton; bleached, de-sized and mercerized), which I dye using shibori techniques I’ve adapted.

Shibori warp in process.

AR: Before I do any dyeing, I map out areas that will eventually be bound or blocked off and go over the lines using a long basting stitch. This keeps the lines ‘readable’ after going through the dye, and helps me gather the fabric evenly. I do this for straight lines and to outline circles. In some cases, I cut two identical pattern forms from corrugated plastic board and clamp them together with fabric in between. Because of the width of my fabric strips, I have to widen circles into ovals to allow for the condensing that occurs when the warp is threaded on the loom. After all the warp fabric is dyed, I rip it into strips, maintaining the pattern order. I use ikat techniques to dye the weft strips.

Warp going on loom.

AR: As much as I dislike using a computer to make art, I have found it to be a valuable tool for the design process. Using Adobe Illustrator and Photoshop, I can make quick schematics of composition ideas. This greatly speeds up my ability to change and relocate colors and patterns. I can even approximate the effect of the optical mixing that occurs when weft overlaps warp by creating a weft color composition, reducing the opacity, and layering it over the warp composition.

Warp and Weft Schematic

AR: Sometimes precisely calculated, sometimes left to chance, the colors meet and/or overlap as the weaving progresses. These variations can create both subtle and dramatic forms and color contrasts. All of this play with color and pattern creates the illusion of layered, deep and contemplative spaces.

Weaving in process.

TSGNY: Ikat and related techniques exist in many cultures. Are there particular cultures whose textile traditions have a particularly strong influence on you?

AR: In 2010, I traveled to Uzbekistan to see Central Asian textiles and came home laden with lengths of ikat cloth, ranging from very simple patterns in cotton to meters of silk with complex patterns entirely dyed with natural dyes.

Ikats by Fazli tdin Dadajonov, Fergana Valley, Uzbekistan

AR: The exuberance of the colors I found not just in fabrics, but also in their food markets and bazaars dared me to open up to strong color and pattern in my work. The love and commitment of the artisans to their craft boosted my confidence to follow my own artistic instincts. My recent work is all inspired by that trip.

"Shadow of the Silk Road" (2011) Cotton: hand-dyed shibori warp, hand-dyed, ikat weft; handwoven; 3 panels, each 65.5” x 27”; overall 65.5” x 85”

TSGNY: What kind of artwork were you doing before you started working with this combination of ikat, shibori and plain weave?

AR: While I was in graduate school at the University of Kansas, I was inspired by landscape — in particular, the moods and appearances of the ocean off Deer Isle, Maine —  I worked at Haystack Mountain School of Crafts during the summers. The structure of Japanese armor, which I “read” as systems of marks, led me to make rows of diagonal and vertical marks on layers of semi-transparent parachute nylon I found at the state salvage store. I dyed and printed on the fabric and also glued on fabric strips. The pieces were large (around 6’ x 8’) fields of 2-4 layers of fabric sewn together in rows and gently gathered.  There was visual and physical depth, and they created the feeling of being in a physical environment.

Ocean Visages, MFA Thesis Exhibition, University of Kansas (installation view) Nylon: dyed, printed, collaged, hand sewn; sizes vary, approximately 72” x 84”

AR: When I finished my MFA I no longer had access to a large wall space, so I turned to the loom to explore my interest in Japanese ikat and shibori techniques. The idea of working with fabric strips for warp as well as weft just surfaced. Maybe it came from a residual memory of making cloth loop potholders when I was young? Initially I intended to make rugs, tapping my interest in Japanese and Scandinavian traditions of making the functional beautiful. I grew up sewing, loving fabrics and the beauty of quilts and rag rugs. I quickly abandoned that concept once I realized how much time I was already putting into the dyeing and weaving process.

"Leap Year" (2012) Cotton: hand-dyed shibori warp, hand-dyed ikat weft; handwoven; 3 panels, each 64” x 38”, overall 64” x 126”


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TSGNY: Does your technique pose any particular challenges? If so, how have you overcome them?

AR: There’s a lot of math involved in figuring how much fabric is needed for each piece, but that seems to fit with my personality. I’ve worked out shrinkage and uptake percentages and made an Excel template that performs the calculations. Rolling on the warp is an exercise in patience because ½” strips of fabric at 6 e.p.i. stick together.

TSGNY: Would you say this technique enables you to do things you have not been able to do in any other medium?

AR: I ask myself sometimes why I don’t paint, and the answer is: I like to have direct contact with materials, to hold them in my hands. There is a lot of repetition in measuring, binding and then unbinding for shibori and ikat, stripping the fabric, threading the read and headless, treadling and passing the shuttle that is calming and reassuring.

"Margilon 1 and 2" (2011) Cotton: hand-dyed shibori warp, hand-dyed ikat weft; handwoven, 2 panels, each 32” x 28”, 32” x 59 overall

AR: The processes I use to create my weavings connect with the part of me that likes to plan and calculate, but they also thwart those inclinations in very healthy ways. I can calculate distances and patterns all I want, but I am prone to math errors, and there is always the serendipity of dye leakage. As hard as I try to maintain an even tension as I roll on the warp, there is always some displacement of pattern elements. The challenge of opening up to the reality versus the plan has been freeing emotionally and extremely exciting.

"Here" (2011) Cotton: hand-dyed shibori warp, hand-dyed ikat weft; handwoven; 32” x 28”

AR: I also make paper weavings to try out ideas. Because the ikat and shibori weavings are so labor intensive, I have learned to be more playful through making these small paper weavings. It’s an easy, quick and fun way to experiment with color and pattern. I rarely make a weaving that is strictly an enlarged study, but use the paper experiments to ignite and process ideas.

Paper weaving

AR: It’s been both liberating and fulfilling to relax my need to have the “correct” answer instead being willing to embrace the unknown as a revealing, rewarding adventure.

“Passages 4: Release” (2012) Cotton: hand-dyed shibori warp, hand-dyed weft, handwoven; 48” x 35

TSGNY: Has your artistic intent changed as a result of working  in this ikat/shibori process?

AR: My MFA thesis committee suggested that I explore making the marks that I was applying to the surface of the fabric become part of the physical structure of the finished piece. I am still interested pursuing marks as structure to create large fields, but I don’t have a large enough space to do that. In my weavings, I continue to explore the illusion of layers and depth I was exploring in my MFA thesis. By making multi-panel pieces, I can also work on a large scale as with Leap Year and Shadow of the Silk Road. I find myself moving away from the color field concept for the present. I still think about “building” marks, though.

"Shadow of the Silk Road" (detail)

TSGNY: Finally, are there living artists who inspire you whose work you feel we should know?

AR: Artists who have influenced my work include El Anatsui, Cynthia Schira, Reiko Sudo and Nuno Textiles, and Ana Lisa Hedstrom. TSGNY member Valerie Foley’s Daily Japanese Textile blog has been an important inspiration for my interest in pattern and color.

"Passages 2" (2010) Cotton: hand-dyed shibori warp, hand-dyed ikat weft; handwoven, 56” x 42"

TSGNY: Thank you, Ann. You can see more of Ann’s work on her website, and in the show In Response: Weavings by Ann Roth and Vita Plume; May 31-September 6, 2012, Gregg Museum of Art & Design, Raleigh, North Carolina.

Fiber: A Love Story

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Our diverse membership is united by the fact that at some point in our art practice, each of us fell in love (perhaps even became obsessed) with a particular fiber technique or process or material. In the coming months, we’ll be asking our members and our guest speakers to tell us their stories of love and obsession . . Therefore sexual problem brand viagra mastercard like erectile dysfunction or impotence consult your doctor now or try Kamagra for instant result. For those who have a family and you are sick http://downtownsault.org/soo-theatre-project/ viagra no prescription and tired of trying things out that only let you down and cost you money. Online pharmacies have made shopping online sildenafil india http://downtownsault.org/sault-realism/ for medications quite simple and inexpensive for clients from any place on the globe. ED pills are safe when ordering on the web. browse description cialis properien . . Stay tuned.