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Tia Imani Hanna: Tell me all about what was it that drove you to fabrics, as opposed to other fine arts. Did you start with fabrics or textiles? Or did you start with painting? Or did you start with drawing? Or was it something in your household? Was it in the family tree?
Tia Imani Hanna: What was that journey like even just to get from, okay, so, I went from making Barbie doll clothes to I'm going do this in school to go to art school? What was the impetus to do that? Because art school. A lot of parents were like art school. What? You're going to do that? So, how did you get there?
Marti Lameti: I heard that too. So, when I went off to Olivet College, which was my first college that I attended, I went there with the idea of probably going into psychology, but I was taking art classes and found my passion. I had a wonderful instructor by the name of Professor Whitney, who said to me one day you are an artist and I would like you to consider this your major. And, he said, because you can do great things. And it was that inspiration that made me think maybe I could do this, but how do you do that? How do you make a living as an artist? I think all of us can relate to that. And I think, gee, I don't want to be a starving artist and not be able to make a living to support myself. So, I was straddling these two majors. And when he said that to me, I declared myself an art major and decided to triple major. And then when I went to Eastern Michigan University, cause I transferred over so that I could study under an art teacher that I really had appreciated. He was a drawing instructor and a sculptor; Professor Pappas and I learned some really great things from all the professors there as well. And just kept continuing, but I was painting. And so, I come from a painting background. And so, as my use of fibers, I think of it in a painterly way. So, I actually paint with the textiles, paint with the fibers.
Tia Imani Hanna: I guess in painting you think of perspective and grids or do you think in objects or landscapes? Or do you think of ideas or what are you trying to get to when you're, when you're trying to create a piece?
Marti Lameti: A lot of times what I do is, most of the time, I buy my wool to begin with, and sometimes I hand-dye the wool and sometimes I buy wool that's just been sheared off a sheep and that's a whole nother process because then you have to scour the wool. And then I dye the wool, and then I take pieces of the wool and lay them down as though they're strokes of paint. I'll lay a piece of base fabric down and a lot of times I'll use industrial felt or I'll use scrap fabrics, recycled garments, piece silk scarves that people give me. I use a little bit of everything. I really liked the idea of recycling and using natural fibers because I think it's better for the environment to do that. So, even in my dying process of some of the fabrics that I use, I do coffee dying and tea dying and natural fabrics. But I do like to support the community, artist community, in another regard in that I buy a lot of my wools from local growers. So, people who are raising the sheep and they're shearing the sheep and a lot of artists, their art is in the dying. And so, I will go to fiber shows and I will buy the colors that I'm inspired by, and then bring them back. If you could see my storeroom, it's tremendous because I need to have every color at my fingertips so that I can blend them in the process.
Tia Imani Hanna: Going to a shopping mall with you, what's a trip to the store look like? What's a trip to the to the farmer's market look like? So, you go do work with the alpaca farmers and I don't know if the llamas they use their wool or not.
Marti Lameti: And I love the smell of oil paint. That's probably what started me to become an oil painter, to get was the smell of the oil paint. I then linseed oil, I think it's fabulous. But you don't, with watercolor, you don't get that. There's no smell to it. And so, I got bored with it and I never, until this minute, never really realized why that probably was. And probably because I like the smell of it, oil, better than I did the watercolor.
Tia Imani Hanna: And you're just more attuned to it. Cause some people, I think that's true for a lot of different things. Cause you know, sometimes you'll meet a person and you don't like them and you don't know why. And it might be because they're wearing a scent you don't like.
Tia Imani Hanna: Yeah. So, we just don't realize it because our noses are so much less developed than like a dog or a cat or any other creature on the planet. We can't smell very well, but we'd be more attuned if we didn't have as many scents and we weren't inside all the time and we were living out in the wilderness, we'd be able to smell things more. So, maybe yours is just more highly developed and you use it in your art.
Marti Lameti: To me, I love the smell of sheep's wool, so it's, in spinning. I do spinning and I've done about everything that you can do with fibers so that I know how things are done. And I've studied over the years at Greenfield Village. I worked there for a while and I took classes and I continue to challenge myself to do new things, to add to my repertoire of design. So, like right now I'm playing around with waxes and adding paint back into what I do a little bit. But the challenge for me, it's a lot easier for me to paint what I want to do. It's actually more of a challenge to do that in fibers. And I don't think that people understand that. It's more of a challenge to make the fiber do what you want it to do than it is to paint with a brush. And I like that challenge.
Tia Imani Hanna: Good. I'm glad to see it. Make art. That's what we do at Tia Time is tell folks all the time just to make art and break the rules. And make mistakes. Yes. So, what mistakes have you made that have turned into the best things that you've ever come up with? Can you think of any that have just turned for the better because you made them?
Tia Imani Hanna: Yeah, that's the hard part, I think, for a lot of folks, especially once you do have a lot of responsibilities is to remember to make that key. That you have to put that as a priority in your own development and your own progression as an artist to keep working every day. I just had an artist on the other day. And we were speaking about that. And it's, yeah, it's a challenge. It's definitely a challenge. And then there's that thing of you don't always feel like doing it, but you have to do it anyway.
Marti Lameti: Bojagi, but it's a really interesting type of stitching where you almost doing like French seaming of the pieces and it's on sheer material. It's an interesting design concept that I'm playing with. Yeah. It could become clothes at one point and so, you never know.
Marti Lameti: No. When somebody said why do you do why do you do this? And I said, because I can't not do it. And you know what that's like. You must create music. I must create art. It's just, and even if nobody buys it, even if nobody sees it, it doesn't mean that I stop.
Tia Imani Hanna: Yeah. And a lot of the things I do are interactive. So, if there isn't any audience or if there isn't another band member, if there's nobody to interact with, then there's no music. There's the stuff I present, but that I always tell folks all the time. It's just boring. So, you gotta have the other band members.
Tia Imani Hanna: That's sweet, but it's just one person talking, without the other conversation. Cause I can talk all day if I'm talking with somebody and we're like sharing something, but if it's just me, literally, me going [Tia making musical noises].
Tia Imani Hanna: No, that's exciting to see that and to be able to pass on some of that tradition and some of that excitement to the grandkids. That's great. It's wonderful. So that's what we need. That's you creating the next generation of artists and audience, so fantastic! Wonderful work! Now, talk about those hats.
Tia Imani Hanna: So, thank you so very much for being on the show today, Marty, and I appreciate it. You talking with me and sharing your olfactory senses and your eye and your talents. And thank you so much for being on Tia Time today.
Tia Imani Hanna: Thank you for joining us this week on Tia Time with Artists. Make sure to visit our website, tiaviolin.com, where you can subscribe to the show in iTunes and never miss an episode. Please leave us a rating wherever you listen to podcasts. We really appreciate your comments, and we'll mine them to bring you more amazing episodes.
Paige Marie: So, I've been hooping for about same amount of time for five years. I started with hula-hoop. And then also started burning within like one year of my flow art journey. But yeah, I, since I started fire spinning, it's been like something that I've always wanted to do. I'm like, Oh, why would I play with this when I can put this on fire? Or when I can put this torch in my mouth? Or, when I can spritz myself? Once it gets to that level, it becomes all you want to do because nothing can compare to it. It's awesome. And I love it.
Anna Faye: Yeah. So, I've been dancing for most of my life. I've been hula hooping first six. That was my outlet after not being able to attend dance classes anymore. And that's actually how I met and got to know these girls and I've also been spinning fire for four years as well.
Nat Spinz: Like when you first start, like, when I first started, I wasn't comfortable moving was fire either. And so, when you decide that you're ready for that next step after you've been doing in a while, just take it slow. Like you don't have to do crazy tricks and stuff like that at first.
Nat Spinz: So, I tell you what it was for me, and this is why I pointed at Anna, because she's all about the community, like, the flow community. It's just like any community there's always a couple of cliques here and there, but for the most part, I would say that most flow artists and the community in general is very warm and that, no pun intended there, and welcoming of newbies. And you can get to this level. Don't push yourself to get here, to spinning fire first. You, you know what you're capable of and, and yeah, I think for me, that's the biggest thing, is the reason why I took that next step to spinning fire is because I was surrounded by so many people who had already done it and I felt safe, despite the fact that I was inside of a hula-hoop with five fireworks around me, I felt safe. Yeah. What about you guys?
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