Real Needlework Art
Lula
galleries, pick up a copy of the Sept/Oct Fiberarts magazine.
Lots of interesting articles on needlework art in the true sense where
stitching was incorporated into artist's pieces or textile arts.
Wish I had more time to experimentally stitch as I love the idea of
incorporating mixed media with stitching....wonderful ideas to tweak the
creative mind.
For the Phoenix needlework show this year, I translated a few of my
Halloween illustrations into needlepoint - reading the current Fiberarts
makes my fingers itch to start embroidering some of these illustrations
even with something as simple as a satin stitch, outline and other basic
embroidery stitches....in reality anything goes with needle and thread
in these artistic needlework renderings.
One of the neat techniques I saw used on some models at the needlework
show was the use of the padded satin stitch by Amy Bunger (Amy's Golden
Strand, TN) she used the stitch in broad strokes on a nutcracker that
created a nice rounded turban on needlepoint canvas, great effect.
Also spent time chatting with Cece of The Thread Gatherer - we both are
excited about Halloween designs and ways to stitch them with her neat
threads, especially using the bright purle wild, wooly "hair" threads!
Love the Silk chenilles, varigated Silk ribbons, etc....then picked up
some neat thread from Renaissance Designs that looks like "chain mail",
a thick metallic thread to be couched in different colors of copper,
gold, steel, etc. So many ideas and so little time.....
---
Lula
http://www.woolydream.com
Needlework Adventures
bds-pds
been talking about in Europe for dozens of years; right along side of the
oils etal. Wonderful, aren't they? Now they were modern in tone but they
also include tight little complex tapestries of scenes etal that are
unbelievably close to the ones of the 17th century in the Musee' de Cluny.
People are still doing this craft, and I use that in the best way, and
presenting them --- What I would like to know is more about the technique of
FAST stitching which i have yet to really really accomplish after all of
these years. When you work on very large count; i am on 48 count canvas
right now, how to get through them quicker. Those showing could not
possibly make enough to live on at my pace! They are fast if you watch
them!!@!!!! barbara
Lula wrote in message <37CD77...@earthlink.net>...
Dianne Lewandowski
I understand what you mean by this: The fiber artists who create avante
garde pieces using paper, fabric, needle & thread and anything else the
artist can think of to put together in a one-of-a-kind piece of art.
What I object to is the term "real". Not that I'm necessarily "correct"
in that assumption. <grin> - but it bothers me because of what that
"says" about other artists who create designs and hand embroider them
(England's Jo Dixey for one).
Is it possible the "art" world has gotten fixated on fiber arts because
of the "times" and their "preferences" for what the term "art" means?
For instance: I think your stuff, Lula, is truly "art". Have no idea
why it is not (and others like you) held in high esteem. To me, this is
a bias on the part of the "art" community.
Dianne
bds-pds
Dianne Lewandowski wrote in message
<37CE7765...@heritageshoppe.com>...
Lula
I don't usually say this as it sounds like bragging but since you've
mentioned the subject, my work is held in high esteem by my fellow
illustrators and designers all professionals in the commercial art world
as I am too.
I've designed and illustrated print materials in the past and fell into
designing needlework 15 years ago as it combined my art and needlework
interests - overall, I am still an artist mainly interested in
illustration but use needle and thread as my medium for the time being,
but my real love is painting illustrations with gouaches, brilliant
watercolors and pen/ink.
In terms of what is art and how it is defined, it really depends on what
perspective you are judging from.
Today there are many blurred lines and cross pollination influences on
the traditional arts - it is constantly evolving and attitudes are
changing as the world is changing.
My use of the word "real" (in quotes) was meant to differentiate it
from other needlework creations, many of which are interpretations of
pre-planned designs.
The 'FiberArts' articles were geared solely to original creations by
artists who are using threads and fibers to as their medium to create
art and not commercial patterns as such. So in a sense anyone creating
original one of a kind needlework designs/statements/objects & etc...
would qualify as an artist to be respected for their abilities and
artistic visions.
The question in determining if it could be in an art gallery setting or
not would be based on if it had commercial value to a buyer interested
in this type or work.
The bottomline overall is how one decides to market a piece of work
which of course depends on the type or work one does and what market it
is suitable for.....hahahahaha, of course this will probably lead into a
discussion of what a "REAL" artist is, the fine artist who does art for
"love" or the commercial one who sells....again....in my case, I don't
care, it's all semantics - an artist is an artist and I for one am proud
I've been able to earn a living with my art skills for over 20 years,
the perfect example of someone with both fine arts and commercial art
degrees that is practical.....art supplies do cost a fortune....as well
as needlework stash.
---
Lula
http://www.woolydream.com
Needlework Adventures
JDTHMLLR
discussion of what a "REAL" artist is,>>
<< So in a sense anyone creating
original one of a kind needlework designs/statements/objects & etc...
would qualify as an artist to be respected for their abilities and
artistic visions. >>
In the Commentary column of that very same issue, a weaver W. Logan Fry, looks
at the three contexts for calling one's self an artist...and one's work art.
They being: 1) the intensely felt psychological need to create; 2) the
commercial enterprise of art; 3) being socially recognized by others as an
artist. He argues for keeping the a broad definition/self-definition of artist.
And I agree with him. The words we choose to use about ourselves empower or
disempower ourselves. And I see that as what really matters in what we
do..however we do it.
Judith
Madison
bds-pds
into the realm of artist- that would include architecture, all media art,
all the way to needlework. The thread is the material to be wielded.
barbara
JDTHMLLR wrote in message <19990904075537...@ng-cm1.aol.com>...
Dianne Lewandowski
past posts that your work was held in the highest regard by your peers
as well as the public.
I guess I have a problem in that in the "art world", only the very
avante garde is being promoted, and that, I think, is a shame. Some of
it is astoundingly beautiful. But I wish, in my heart, that we could
undo some biases about "embroidery". Perhaps we just need some artists
to find new ways to interpret it?
Better stop talking <grin>.
Dianne
Dianne Lewandowski
Lula wrote:
>
> Dianne,
>
> I don't usually say this as it sounds like bragging but since you've
> mentioned the subject, my work is held in high esteem by my fellow
> illustrators and designers all professionals in the commercial art world
> as I am too.
>
> I've designed and illustrated print materials in the past and fell into
> designing needlework 15 years ago as it combined my art and needlework
> interests - overall, I am still an artist mainly interested in
> illustration but use needle and thread as my medium for the time being,
> but my real love is painting illustrations with gouaches, brilliant
> watercolors and pen/ink.
>
> In terms of what is art and how it is defined, it really depends on what
> perspective you are judging from.
> Today there are many blurred lines and cross pollination influences on
> the traditional arts - it is constantly evolving and attitudes are
> changing as the world is changing.
>
> My use of the word "real" (in quotes) was meant to differentiate it
> from other needlework creations, many of which are interpretations of
> pre-planned designs.
>
> The 'FiberArts' articles were geared solely to original creations by
> artists who are using threads and fibers to as their medium to create
> art and not commercial patterns as such. So in a sense anyone creating
> original one of a kind needlework designs/statements/objects & etc...
> would qualify as an artist to be respected for their abilities and
> artistic visions.
>
Lula
Not to worry - I always find your posts very interesting and thoughtful.
You bring up interesting subjects to think about and thanks to your
posts, there is discussion of other needlework arts.
You've hit the nail on the head about "embroidery" being taken seriously
as an art form - if more artists used this medium to create, than the
thinking and viewing of such artworks would become more prominent - just
like quilting which is considered quite an art form these days. That's
why I was so pleased with the 'FiberArts" articles on the use of
needlework in and as an art form by artists.
Every now and then one will see illustrated books and articles using
embroidery and other needlework techniques as the (art) form to
illustrate. There are several children's and other books illustrated
this way.
Several names come to mind - two UK artists - Belinda Downs (hope I have
her name right), Janet Bolton of primitive (design) quilting fame who's
works have been made into gift wrap and cards, book illustrations and
Sally Mavor of the US who is very much into using needlework techniques
for illustration, in fact she was featured recently in a Mary Englebreit
magazine article - of course one of the most well known is Gail Harker
who specializes in machine embroidery techniques.
There is a well known US illustrator (yikes, can't place her name at the
moment and I met/talked to her!), who uses all needlework techniques for
editorial and advertising art of which you've probably seen in major
mags.
One of my goals is to create an embroidered illustration for a portfolio
piece - I find embroidery to be the most fluid and natural "drawing"
method on cloth compared to the more gridded needlework stitches which
have their expressive limitations for what I want to create - for many
of us the use of needle and thread is similar to using more traditional
art materials.
Leslie - Glen Ellyn
Chicago? She incoporates a great deal of embroidery in her work.
--
Leslie - Glen Ellyn
email at rpl....@worldnet.att.net
Lula wrote in message <37D17B...@earthlink.net>...
Dianne Lewandowski
Dianne
JDTHMLLR
installation celbrating 39 women and their achievements. Three long tables were
arranged in a triangle. Each women was represented by a place setting at the
table...a china plate representing the woman or a mythological character from
the era and a embroidered runner/placemat. As an outgrowth of the feminist
movement her work gave visibility both to the women she depicted as well as the
medium of textiles.
Judith
Madison
Leslie - Glen Ellyn
MaryPulver
Actually, where, besides the state fair, is a good place to see needlework? I
sometimes like the avanced stuff, but my real admiration is for the more
traditional work, with fancy stitching, inventive use of color, and very
careful, thorough, sheer hard work. I know I'm at least partly wrong and
opinioning from far too small a data base, but much of the really modern stuff
seems haphazard and even downright sloppy, done by artists with too little
respect for craft.
Mary Monica
Mary Monica
There are three rules for writing a novel. Unfortunately, nobody knows what
they are. -Somerset Maugham
JDTHMLLR
In some areas, EGA and ANG guilds sponsor period shows. Also, there are
independent guilds that do the same thing. If you are near Chicago, the Art
Institute has a textiles collection that both has public shows and can be used
for research. It (Chicago) also seems to have a vibrant fiber arts community
and there are galleries and periodically have shows. But, sadly, far to rare.
Judith
Madison, Wi
Dianne Lewandowski
guilds? I would be interested.
Dianne
Lula
it was a long time ago when she first exhibited it....impressive how she
incorporated many needlework techniques into her artwork and this was
before I did needlework.
Leslie - Glen Ellyn wrote:
JDTHMLLR
>>
Though she did the design, there were many other fiberartists who did the work.
I took a class from one of them last year and she provided an
interesting/behind the seens look at the project.
Judith
Madison
bds-pds
still painted. I know that if you design, you design all things. I do
architecture, needlework, tiles, rugs, fabric concoctions. barbara
Lula wrote in message <37D734...@earthlink.net>...
Lula
I was an illustrator/designer before I fell into designing needlework as
a full time business for the last 14 years - I liked stitching and was
designing my own work when a shop manager friend suggested why not paint
needlepoint canvases/design needlework? At the time, I had no idea
people could make a career designing needlework. I tried it and built up
a solid business from scratch, lots of hard work, long hours but very
rewarding.
As I've always said, a good design/illustration is worth it's weight in
gold and can be used for many applications so it's no surprise that you
do architecture, needlework, rugs, tiles and all - it's all related.
At this time, I still plan to design needlework and have been working
again into the illustration/design markets to re-establish myself there.
Take a look at my website as I have some illustration work posted.
---
Lula
http://www.woolydream.com
Needlework Adventures
Rotaub
I have had the opportunity to see some of Lula's illustrations in person and
while I like them on her web site I think the are even better in person. She
has a great use of whimsy and bright colors that make me feel good when I look
at her illustrations.
>At this time, I still plan to design needlework and have been working
>again into the illustration/design markets to re-establish myself there.
>Take a look at my website as I have some illustration work posted.
Rosemary, near Rochester, NY