Common Thread Symposium: November 6-7 at NC State University

So, as you can see I have been a wee bit busy here recently.  I have another important announcement though.  Over the past few months, I have been coordinating a 2-day symposium addressing Fibers in Contemporary Art.  It's open to the public so we would LOVE to have you join us!

The Common Thread Symposium
Through the gracious support of Cotton University, Cotton Incorporated and the Department of Art+Design at NC State University's College of Design, we are excited to offer this 2-day symposium for the first time!  It will include morning lectures, afternoon workshops and a number of special activities that will address Fibers in Contemporary Art+Design.  Please see the details below and our website for more information about our guests.  I've also put a link below to our Brochure and Schedule. 

Dates:  Friday and Saturday, November 6-7, 2015 
Location: NC State University, Raleigh, North Carolina
Common Thread Symposium: Brochure and Schedule


Registration Information:
Link to Registration Website
Please notice that Friday and Saturday require separate registrations!  If you can join us both days, please register for each day.  Registration includes lectures, workshop fees and food (lunch and reception on Friday and breakfast and lunch on Saturday).  Please bring your printed registration receipt and proper student ID (if registering as a student) to the check-in table each morning.
Public:  $35 each day
Students (high school or college):  $25 each day
College of Design (or those students taking COD courses):  $12 for Friday and $6 for Saturday

Lectures:  More information about the guests and their lectures can be found HERE
Dr. Susan Kay-Williams, The Story of Colour in Textiles
Ilze Aviks,  A Reflection on Slow Textiles in a Digital Age
Precious Lovell,  King Cotton- The King is Dead, Long Live the King!
Andrea Donnelly, Art//Craft//Design: the Work and Practice of a Conceptual Weaver
Paula Kovarik, Artist Talk
Susan Kay-Williams and Katherine Diuguid, Royal School of Needlework and Study Abroad 

Workshops: More information about the guests and their workshops can be found HERE
Paula Kovarik, contemporary quilting workshop (Friday 1:30- 5:30)
Gabrielle Duggan, Webwords and Impressions workshop (Friday 1:30- 5:30)
Precious Lovell, Call and Response collaborative workshop (Friday 3:30- 5:30)
Ilze Aviks,  Altering Cloth with Hand-Stitching workshop  (Saturday 1:30- 5:30)
Mary Kircher, Journaling and Woven Collage workshop (Saturday 1:30- 3:30)
Mackenzie Bullard, Indigo Shibori Demonstration (3:30-5:30)
Kelly Kye, Folded Star Quilt Block workshop (3:30-5:30)


Special Events:
“Treasures of the Gregg” presentation at the Gregg Museum textile storage by Mary Hauser
“Faculty Show and Tell” informal pin-up of current work by faculty members of the Southeastern Fibers Educators Association with reception
Information Session for Art+Design Graduate program
Portfolio Review Session for Fibers Art+Design Seniors
Open Stitching and Review Time


Funding for the 2015 Cotton Initiative + NC State Art2Wear Project was awarded in part through a competitive grant presented to Assistant Professor Katherine Diuguid by the Importer Support Program of the Cotton Board and Cotton Incorporated.
NCSU Art2Wear is supported by the NC State University Foundation.

Exciting Announcement: UK: Stitching a Cultural Identity

I have been sitting on some super exciting news that I can now announce:

UK: Stitching a Cultural Identity Study Abroad Program for Summer 2016

Over the last couple years, I have been developing a study abroad program for NC State with the Royal School of Needlework.  It will include two courses: a course on traditional embroidery taught by RSN tutors and a course addressing the history of stitching taught by me.  Below is lots of more information about the program.  
 

Program Introduction:

Embroidery has served as an important aspect of British history since the early Roman times.  Secluded from the rest of mainland Europe, it saw embroidery flourish to new technical and artistic heights in the early Middle Ages producing some of the most prized pieces of ecclesiastical embroidery of the time known today as Opus Anglicanum.  Through the years as the United Kingdom established itself as a global power, British embroidery reflected the different global influences.  In modern history, it was British women that revitalized embroidery as an artistic medium.  Embroiderers such as Alice Kettle and Audrey Walker have been exhibited next to contemporary painters and sculptors in recent exhibitions.

The Royal School of Needlework (RSN) is an internationally respected authority on traditional hand embroidery.  It strives to preserve the heritage of precise and artistic stitching through teaching embroidery technique and through the many varied projects it undertakes in their working studio.  Housed at Hampton Court Palace just south of London, the RSN offers day, certificate, and undergraduate courses teaching the art and cultural significance of hand embroidery.  Their working studio on the ground floor of Hampton Court Palace restores and creates pieces for numerous Cathedrals, fashion houses, stately homes, and the royal family.  They were responsible for the embroidery on the coronation robes of HM Elizabeth II and the late Queen Mother.  In recent years, they gained much acclaim for their extensive embroidery on the wedding dress, veil and shoes of HRH the Duchess of Cambridge. 

Course Descriptions:
ADN372: Traditional Embroidery taught by Royal School of Needlework tutors at Hampton Court Palace
Students will be doing two modules (2.5 weeks each).  The modules will be Crewelwork and Goldwork.  They will develop samples experimenting with the technique and a final motif.  Each module is divided into 4 tutor days + 1 work day (with me there for help!).  The costs of each kit and scroll frame is built into the program cost. 

ADN492: History of Stitch in the British Isles
This course will introduce students to the history and development of stitching on the British Isles from the 9th Century AD to today.  It will blend cultural, historic and socio-economic factors affecting the development and importance of stitching with the design and technical characteristics of the techniques.  This course will be taught through a series of visits to museums, exhibitions and collections to see actual pieces from the time periods being studied. 

The kink:  I need 12 students for this program to run, so.....If you know any university students (they do not have to be from NC State) that may be interested, here is the link to the program and application page through our Study Abroad office.  Applications open TODAY!:

http://packabroad.ncsu.edu/index.cfm?FuseAction=Programs.ViewProgram&Program_ID=3627

More Information about the Royal School of Needlework:

RSN website: http://www.royal-needlework.org.uk/

Playlist of Videos on YouTube: https://www.youtube.com/playlist?list=PLEM-X5dJ9Lo-Prqe7OGfk6jGQScgj_vI0

Want to Know More About This Program?:
Come join us for the Common Thread Symposium (more on that later today too) in November where Susan Kay-Williams (the Chief Executive of the RSN) will be presenting a lecture on her research on the history of dyes and help me launch this program to our students.  She and I will be talking more about the history of the RSN and the program details for this study abroad opportunity!

France: Day 1 Auvers-sur-Oise

Our first stop (straight off the plane!) was Auvers-sur-Oise, a small town north of Paris where Van Gogh spent his last couple months before he passed away.  It is said that he created over 80 paintings in the 70 days that he spent in Auvers-sur-Oise.  Can you imagine being able to create pieces at that rate and concentration?!?

We saw a digital exhibition on the Impressionists and many painters that came to Auvers to paint at Château d'Auvers sur Oise.  We visited the Auberge Ravoux (where Van Gogh rented a room) and walked around the town.  After lunch, we drove around and took lots of photos of the town and the view down to the river.  I wish we had had more time to walk down near the river but it was off to Vernon by way of the scenic route on our GPS. 

 The Église Notre-Dame d'Auvers that was painted by Van Gogh (now at the Musee d'Orsay).

 I love an old stone walkway with moss and grass growing in the cracks!

 The poster in the bottom right shows a print of Van Gogh's painting. 

 It only felt right to photograph the beautiful sunflowers!

 And some pretty flowers too.... 

 I loved the moss on the tile roofs and the ivy invading the sides.

 The Auberge Ravoux

 Some cows on the way to Giverny and Vernon.

Exploring Color Interactions Illuminated in Goldwork Embroidery

This summer I was extremely excited to be awarded a Faculty Research and Professional Development grant through the NC State University College of Design (where I teach) to help fund my research project "Exploring Color Interactions Illuminated in Goldwork Embroidery”.  As I have written about on my blog before, I am very interested in how colors interact when you start mixing them with the gold and silver threads and wires in metal embroidery.  I began playing around with this after completing a color wheel with Tracy Franklin for my City & Guilds Goldwork Certificate I took with her.  I think I have lost count how many color wheels I have had to do throughout my design education and it was actually a really, really useful exercise and one that honestly I don't think I would have done on my own, atleast at that time.

 

Over the last 7 years, I have viewed numerous exhibitions and collections at different museums and churches to further my exploration and understanding of metal embroidery.  I began noticing that many of the colors that you see used with the metals are very similar to the colors seen in illuminated manuscripts--- very saturated primary colors and some secondary colors. 

What I find interesting is the somewhat unexpected quality of color when used with the gold embroidery.  Purples quickly turn to black on the darker side and start to read as gold when too light.  In traditional color theory, we are taught that yellow is purple's complement but gold does not equal yellow when inserted into the color wheel, even though that is what we traditionally do.

A few exhibitions that have greatly influenced the development of this project are Making Colour that was at the National Gallery in London during the summer of 2014 and Cézanne and the Modern at the High Museum of Art in Atlanta during the fall of 2015.    

Making Colour presented each hue in a different room describing in detail the development of the different pigments in paintings.  The most exciting aspects to me were 2 parts: 
1- The microscopic cross sections used to identify the pigments made me begin to wonder what if instead of matching that blue I wanted in my embroidery I created the perception of that blue.  Why couldn't I treat my stitches like the molecules in the cross sections? 
2- Gold and silver were presented in their own room at the "end of the rainbow" of hue rooms.  There is also a great curator talk on YouTube that addresses the reasoning behind this.  So what if gold and silver were not part of the color wheel but a separate group of their own? 

Cézanne and the Modern was beyond amazing.  It was my first experience seeing Soutine and Sisley paintings in person, and they allowed viewers to take photos!!!!  (Massive thank you to the High Museum of Art and the Henry and Rose Pearlman Collection!).  Zooming in with my camera and isolating different areas of paints allowed me to see the similarities in the color interactions seen in the Impressionists, Post Impressionist and Early Modern painters and embroidery.  They utilized color in a more deconstructed way, creating the perception they wanted by using certain colors adjacent to each other instead of blending matched colors and layering transparent layers.  Additionally, their focus on quick and expressive brushstrokes creates similar texture, shadows and directional movement seen in stitching. 

In this project (it is a seed grant so project in very beginning phase), I want to look at Josef Albers and Bauhaus color theory and the color interactions in Impressionist, Post Impressionist and Early Modern painters.  These uses and theories on color interactions will then inform a set of written articles and a set of embroidery samples investigating the application of these theories in embroidery. I will complement this with research on specific embroidery precedence-- the split stitching in Opus Anglicanum, Constance Howard, Beryl Dean, Audrey Walker, Alice Kettle, and Margaret Nicholson to begin. 

So some of the main questions I am going to be exploring (and I know all of these are huge questions but again this is a seed - in the beginning- grant) are:
- what is the complement of gold?
- how does the texture and stitch pattern effect color perceptions in embroidery? (this question includes material selection i.e. wool v. silk, etc.)
- what can we learn from the Impressionists, Post Impressionists and Early Modern painters use of color theory?
- how can the luminocity seen in the Impressionists, Post Impressionists and Early Modern painters work be translated to stitching?

For the first research trip of the grant, I went to France to focus on the painting color observation part of the project.  I visited Auvers-sur-Oise (where Van Gogh spent the last couple months of his life and painted over 80 paintings), Monet's Gardens and House in Giverny, Musée d'Orsay, Musée de l'Orangerie, Musée Marmottan Monet, the Louvre, Notre Dame, and the Musée de Cluny (the last 2 were to see examples of ecclesiastical embroidery).  I thought over the next couple weeks I would write a bit about each place and share with you some of the things that I had seen and some of the ideas it is sparking in me to push my embroidery research.  Honestly, I will need a while to really process all of what I have seen the last week.  It has been amazing and I cannot wait to start stitching! 

Red Clover

Last summer when I was working on my "Weeds" embroideries, we had a large clump of red clover down near our boat ramp.  I found tons of 4 leaf clovers from it and refused to let my husband spray, cut down or otherwise get rid of the clover patch.  It may be odd, but I think clover is a particularly pretty weed and it brings back memories of childhood Spring and Summer afternoons spent making clover crowns and jewelry.  

I got really excited about this patch of clover.  I pressed the leaves and sketched the plants.  Took photographs galore.  It actually became my evening event a few times a week to walk down and see how the clover had changed or if more had bloomed.  

With this piece, I wanted to continue my Weeds embroideries using the scrap gold thread bits but I also wanted to experiment with doing long and short stitch using a Valdani sewing and quilting thread that was variegated.  I LOVE their colors and in studying the clover it was interesting how stripey and veiny the leaves actually are. I thought maybe using this mercerized sewing/quilting thread it would give it that not-quite-smooth texture of the clover leaves and by using the variegated color it would be interesting to see how long and short would use with less control over the color change.  The small leaflets off the stems are padded with a layer of felt under the long and short.

The actual bloom is created by using a mixture of bullion knots (using a different variegated color of the Valdani sewing and quilting thread) and stretched smooth purl.  I padded underneath it with 1 layer of carpet padding and 1 layer of felt.   I wanted the bloom to be pretty dimensional.  The bullion knots and cut purl are worked the same as you would long and short layering the rows in to create even more texture.  Finally, the stem is overstretched tarnished pearl purl couched with the same Valdani thread as the leaves. 

The Lake House: A Personal Project

I actually started this piece back in the Spring as an anniversary present for my husband.  Then, however, finals came quicker than expected and I got distracted.  It still has some work to go on it- more stitching of course!  I'm not going to stitch the whole thing solid, so the trick will be in deciding when there is "enough" stitching.  

The image is of my husbands' grandparents' lake house.  It is truly one of our favorite places in this world.  Until recently, there was no wifi, cable or cell phone service there.  We all just hung out, cooked, ate, sat by the fire, played in the water, hiked, read books, worked on puzzles, you get the picture-- pure bliss!  The lake backs up to the Appalachian Trail and has some beautiful hiking spots.  We have many, many wonderful family and personal memories at the Lake House.  It was where I first met his whole family all at once.  My favorite memory was when he proposed to me on the dock at sunrise.  

I wanted this piece to feel like a memory.  I was also inspired by the work of my colleague, Susan Brandeis, and how she utilizes layers, printing, and stitching in her work.  I printed (digitally) a photograph I had taken of the Lake House on both cotton sateen and silk organza.  I layered them with 1 layer of 1/8" cotton batting and a backing of cotton muslin.  I added the batting because I did not want the stitching to be flat and I thought the loft that the batting would give to the stitching would be nice. 

The threads I am using are the Valdani cotton sewing and quilting spools.  I love the colors and the soft transitions from color to color on the variegated spools.  The stitches I am using are just basic straight stitches and chain stitches so far.  I'm going to add in some metals into the water but I want that to be my last step.  More leaves on the trees first! 

Cabinet of Curiosities: Pinkeep

This summer I started a new course--The Cabinet of Curiosities: Part 1 Caskets with Tricia Nguyen.  I have long been fascinated by the 17th Century Stumpwork, especially as I have a project of my own that I want to use the techniques for (more on this later when the "idea" is coming together!).  With the help of a Legacy Scholarship awarded by the EGA and my ever-encouraging husband, I am excited that I get to take this course!

In addition to the historic knowledge I am gaining from it, there is also a series of mini-projects that I will be working through to learn the techniques.  The first of these "mini-projects" is the Pinkeep.  The materials for this project are 1750 Montrose linen canvas (approx. 24 count) and Soie Paris thread (3 strands).   The stitching is done all in tent stitch.   

I am using all the same materials, dimensions, and instructions as the project instructions require.  The only difference is that I have used different colors (though still from the 17th Century Color Palette) and my own design.  I based my design for my Pinkeep off of a photo of lily-of-the-valley at my old house.  I had taken a ton of photos of my lily-of-the-valley patch there a few years back when I was prepping for my RSN Silk Shading module.   Someday maybe I will be able to exhibit all my lily-of-the-valley's together!  

This is the first time I have worked with Soie Paris.  It has been an interesting challenge, especially with using the 3 strands.  I have been stranding them the same way as I did with my RSN canvaswork to try to keep it nice and flat.  The silk is soooooo slippery though!  I'm slowly getting the tension more even and smoother and it's great to work with a new thread.  I love the shine of the silk and the vibrant colors and I think once it "clicks" with my fingers I will be a huge fan of the silk threads. 

I thought I would try tramming the stem to make it more raised.  I am happy with the results (mostly) until the stem turns to the horizontal.  I stitched it bottom to top and maybe should have stitched it top to bottom.  Regardless, I'm fairly certain the top portion of the stem will be coming out.  No project is truly a project until something has been ripped out of it I suppose!