California Fibers Blog

INTERVIEW WITH MEMBER POLLY JACOBS GIACCHINA

2012-02-05T15:47:00.000-08:00

An occasional series, featuring an interview with one of our members.

"I no longerfight the feeling of entering my studio to “reinvent the wheel”. Reinvention happens all the time with newideas both physical and mental."

Drawn to the Center

What theme or ideas are reoccurring in your work?
My work is a partnershipand opportunity for me between my materials and the woven organic forms created.

The interpretation of material has alwaysbeen a challenge and my focus.

Findingmaterials that I could shape and control to get the forms I wanted is anongoing pursuit.

Tower Swirl

When did you first become interested in fiber?

When I was first introducedto the fiber world, it came from two different perspectives.
At San Diego State University, in 1971, Joan Austin was beginning to show theimportance of sculptural fiber. We usedbasic basketry and off loom techniques, to develop three dimensional ideas thatwere not to be functional. I was alsovery interested in textile design and silk screening of fabrics.
The other view was from Misti Washington, a wonderful basket weaver that sharedher home and ideas on natural fibers and traditional basketry. It was the beginning for me to explore thenatural materials that were so abundant in my own environment.
It was a good time to be experimenting in fiber, as the field was beingdeveloped and appreciated. After doingmany, many functional baskets that were sold in stores, I was able to developideas towards a sculptural vision.

Crimson Strata

What about the medium of fiber appeals to you?

Date palmseed stalk became my material of choice. Available to harvest in the area, it allowed me to weave on a largerscale. Over time I have searched tofind a way to introduce color with the earth tone hues I have from nature. Painting canvas and twining it along with thenatural materials has been a great evolution for my work. I could still use the date palm in itsnatural state and use acrylics to voice another layer in my weaving.

Who would you like to critique your work?

An importantpart of my development in how to critique and view my work came fromcollaborative meetings with both Dave Davis and Don Weeke. It is such an amazing experience when youcome together with artists that are at a similar level to your work andhave equivalent appreciation to natureand it possibilities. We’d choose aninspirational word and weave our own interpretation using our owntechniques. We would then come togetherto meet and critique. It is veryimportant for me to be comfortable with those that critique my work and that Ihave a mutual respect for. This was an invigorating environment helping me to develop my own voicewith my weaving. It lasted more than 10years and sadly ended when Dave passed away. I still count on Don to help me from time to time with his invaluablepoint of view.

What are your creative challenges?

I am oftennot sure how to verbalize the feelings and pleasures I receive from the actualdoing of my art. It is both satisfyingand challenging and I feel lucky to continue to weave.
I no longer fight the feeling of entering my studio to “reinvent thewheel”. Reinvention happens all the timewith new ideas both physical and mental.

Polly Jacobs Giacchina

2011-12-12T14:18:00.000-08:00

                                                      OCEANIC FORMATION
                                                        by Polly Jacobs Giacchina
                   included in juried show CRAFT FORMS 2011 at the Wayne Art Center
                                                     December 2, 2011 to January 21, 2012

2011-12-12T14:15:00.000-08:00

TRYING TO KEEP IT TOGETHER

by Polly Jacobs Giacchina

included in juried show at Mesa Contemporary Arts/33rd Annual Contemporary Crafts

January 27 to March 18, 2012

2011-12-10T08:26:00.001-08:00

California Fibers member, Michael Rohde, is showing in 3 exhibitions across the country.

Tara is included in the exhibit:
Interconnections: Tapestry Weavers West
November 14, 2011 - February 3, 2012
Reception: Thursday, November 17, 2011 from 5 – 7 pm
Mills Building
220 Montgomery Street (at Bush)
San Francisco, CA 94104

Lobby hours: Monday through Friday 8 – 6

‎House 46 is on exhibit at the San Jose Museum of Quilts and Textiles:

Work for this exhibition was selected by Kerri Hurtado
of Artsource Consulting and Deborah Corsini
from submissions by Tapestry Weavers West members.

November 15 – February 5, 2012
Collecting California

Collecting California is our first exhibition featuring quilts and textiles drawn from the museum's permanent collection by contemporary California artists. It features recent acquisitions - gifts from both artists and collectors - and showcases the rich variety, legacy, and continued evolution of the California fiber art movement.

Included in the exhibition is a selection of work by local artists Sonya Lee Barrington, Cathy Bolding, Marian Clayden, Susan Else, Linda Gass, Sheila O'Hara, Therese May, and Joan Schulze. Artists from other parts of the state are Marlene Bloomberg, Charlotte Patera, Michael F. Rohde and Louise Schiele. Vintage pieces on exhibit are quilted works by Lucy Hilty, Jean Ray Laury, and Yvonne Porcella, and Ed Rossbach’s classic hand manipulated twinning, as well as a basket by the long time collaborators Lillian Elliott and Pat Hickman.

This exhibition focuses on an important aspect of our collecting mission – to honor and support local fiber artists and art history by documenting and preserving California’s textile art for the future.

‎Tibetan Prayers is included in the Textile Study Group of New York exhibition, "Crossing Lines: The many Faces of Fiber":CROSSING LINES: THE MANY FACES OF FIBER, an exhibition of 58 large and small, two- and three-dimensional works of contemporary fiber art:

Juror: Rebecca A. T. Stevens, Consulting Curator of Contemporary Textiles at the Textile Museum in Washington, DC.
This exhibition will be installed in the World Financial Center Courtyard Gallery, Three World Financial Center, 220 Vesey St. (entrances on Vesey and West Sts.), in lower Manhattan, New York City.
CROSSING LINES: THE MANY FACES OF FIBER will be open to the public for 11 weeks: Dec. 6, 2011, through Feb. 19, 2012. Hours: Tues.-Sun., 12–4 pm (closed Monday).

2011-10-26T14:41:00.000-07:00

Gallery 1927 is showing "As We See It: Fiber Artistsof California".

This show is a collection of works from 16 contemporaryfiber artists from all over California. All pieces are in fibers of different types; pine needles, date palm,waxed linen, even recycled materials like metal & plastic, to name just afew. Many techniques are used as well to sculpt these works of art. Please join us on Nov. 10th at

6-9 pm for the Opening Reception. Fine Arts Building 811 W 7th Street, LA CA90017. Show runs Nov. 7th to Nov 30th.

This show will include California fibers members: Polly Jacobs Giacchina and Peggy Wiedemann

2011-10-05T17:02:00.000-07:00

Tapestry weaver, James Koehler, has a lovely DVD showing his process from design to woven tapestry.
He passed away March 3, 2011.

http://jameskoehler.com/

INTERVIEW WITH MEMBER CHARLOTTE BIRD

2011-10-02T22:11:00.000-07:00

An occasional series, featuring an interview with one of our members.

My greatest pleasure is being in the zone, when time stops, my focus is narrow and work gets done without much conscious thought.

http://www.lindagass.com/IntimateApparel/Artists/CharlotteBird.html

Last Clear Chance, commission for
San Diego Regional Airport Authority

What themes or ideas are reoccurring in your work?
Time, process and change are reoccurring concepts. My work changeswith new techniques, with changes in my personal life, with research when a newidea pops up. Time is part of my process as well. I hand dye most of thefabrics I use. It can take several dye processes to get the color and pattern Iwant. Machine piecing and machine embroidery are time consuming. I machinequilt all my work and hand embroidery often is a final step. Some pieces gotogether quickly – less than a week. Others can take months to resolve.

Airport Backsplash,
mosaic tile drinking fountain
San Diego Regional Airport Authority
Terminal 1, near Gate 3, inside security

How do you approach your work? Recently I have had commissions that direct the concepts and content. When I am starting my own work I often begin with fabric…piles of fabric….until something stands out and begins the additive process of image/concept development. After some research, often a simple google search, ideas are refined and manipulated on my wall.

What is your creative process? Sometimes work starts with color and pattern: Sometimes with a concept or word. I often do some research on a concept or word or image. After that my best process is as without thought as possible. Back to that “in the zone.”

What tool could you not live without?

Sewing machine, fabric, dictionary or computer since google is now aresource, needle and thread, pencil and eraser.

When did you firstbecome interested in fiber? I’ve been working with fabric since I was asmall child. My mother taught me to use the sewing machine when I was verysmall. We made my school clothes every year through high school.

Does California, asa locale, physically or an idea, emotionally, manifest itself in your work? The clear sunny climate of SouthernCalifornia appears in my usually preferred color palette-full intensity colorsparticularly red. However, I spenda substantial amount of time in interior Alaska at various times of the year. Iam drawn to the subtlety of the color palette there. When I work with an artist friend there I find my palette shifting to grayer and more muted colors.

Chinook, art quilt, 2011. 19"h x 41"w

Why did you decideto become a member of California Fibers?

I’ve been a CF member since the late 80’s? (I can’t find a resume with the date of my first exhibit with CF. It was a show atthe Pannikan in Encinitas.). Donna Joslyn who was CF membership chair thenencouraged me to jury into the group. CF offered an opportunity to stretch myskills and ideas to art rather than womens clothing which was my focus at thetime. I remain a member because that opportunity to stretch and grow continues.

Mistral, art quilt, 2011, 36.5"h x 19"w

Which historicalfigure or artist do you most identify with? I don’t really identify with anyonein particular. Since I have no formal art training, I can pick and choose fromamong a whole world of artists without having to label a specific organizinggenre. However, I am especially fond of the moderns from Helen Frankenthalerand Robert Motherwell to Jasper Johns, Robert Rauschenberg, Lee Krasner and LeeBontecou. I like simple graphics that have inner meanings that I can figure outor not.

Which livingartist do you most admire? Andy Goldsworthy, his work not his behavior.

What is yourmotto?
As Tim Gunn would say, “Make it work.”

Levant, art quilt, 2011, 25"h x 18.5"w

I hate to have a piece stall out. Ireally like my work to resolve. UFOs (unfinished objects) are a thorn in myvisual side. I can’t hide them deep enough. Eventually they get cut apart, overdyed, painted on or quietly thrown out so they don’t look at me from the shelf.

1. What is thegreatest pleasure you get in your work? Being “in the zone” when time stops,my focus is narrow and work gets done without much conscious thought.

What are yourcreative challenges? I want to pursue some forms other than quilts: artist books, 3Dstructures….having enough time to work through new technical issues is always achallenge.

Happy Hands, commission for a private school for
developmentally disabled children, Tulsa, OK
8.5'h x 12.5'w

What is yourbiggest fear as an artist?
I won’t have another good idea.

Vanity on the Move

2011-09-30T15:26:00.000-07:00

Humanity Series(Vanity) by CaliforniaFibers member Carol E. Lang was shown in the Handweavers’ Guild ofAmerica’s “Small Expressions 2011” in Nashville at the Tennessee State Museum from June 4 throughSeptember 11, and then travels to an exhibit at the Association of Michigan Basketmakers Convention inOctober. http://www.weavespindye.org/pages/?p=HGASmallExpressions.html

California Fibers at Chain Letter

2011-07-29T15:49:00.000-07:00

Chain Letter, “anexponentially massive, artist-curated group show” opened this month at Shoshana Wayne Gallery in SantaMonica’s Bergamot Station. Several California Fibers members joined in the fun.

Gail Fraser, Carrie Burckle, Polly Jacobs Giacchina, Peggy Wiedemann, Cameron Taylor-Brown

Gail with her piece

Carrie's work

Peggy pointing to the two pieces by herself and Polly

INTERVIEW WITH MEMBER ELLEN PHILLIPS

2011-06-28T15:45:00.000-07:00

An occasional series, featuring an interview with one of our members.

"Art expands lives, and you don"t have to like it", says Ellen Phillips, a founding member of California Fibers.

Tribal Woman - India(photo by Ellen Phillips)

What are the big ideas that influence your work?

Right now, in photography it is tribal costume, customs, dance, crafts, architecture. Much of my work comes out of my history, family, World War II. Themes of Passages: walls/barriers/boundaries/ bridging in sculpture and fiber carried me through the 80s and 90s.

My public art in the 90s was tied to the place the work was going to be, its community and its history. A different way of working but one I really enjoyed. After I finished a large public work for the Dairy Mart Bridge which overlooks the Tijuana River Flood Plane, I felt many of my ideas lost their meaning in the process. After that public art work I expected my sculpture work to return, but it didn't. I started taking classes at Grossmont College in the spring of 2004 and have continued there off and on ever since. I realized that my main art interest was photography - which went along with my other passions: family, the out of doors and traveling. I was particularly in backcountry tribal peoples of the world, their costumes, customs, architecture, and crafts. I mostly optimize selected images, make books of them and frame prints.

to see Ellen's Dairy Mart Bridge Public Art Work go to http://www.publicaddress.us/artists/phillips.html

Bridging #2, side view

What are some of the pleasures you get in your work?

Watching it happen. It's often a struggle to get it right - and some pieces never get there. But the excitement of getting it right is wonderful.

What is your creative process and some of your creative challenges?

Artists have to work HARD! Thinking, looking for ideas, developing a series of ideas, choosing one to start with and keep going. Also being open to pieces changing - and perhaps introducing new ideas and series. Keeping going, staying open to new different ideas, keeping my energy up for all kinds of things - as well as for hiking the mountain. Keeping the work going when there are so many things to do. There is never enough time to do everything I want to do - along with the chores of life.

How do you view the artists of today?

I'm interested in ll kinds of art but I'm not looking as much as I used to. Some of it doesn't look much like art, but I've learned those are the artists to watch most closely - I might learn something. Art expands our lives - and you don't have to like it.

Bridging #2, mixed media

What is your biggest fear?

I have no fear now. When I started back to school in art in 1974, I was scared stiff. I went to Grossmont College to take a ceramics class. I was already a potter so I took the second level class. I figured I knew something about clay so they probably wouldn’t throw me out. Les Lawrence had me making art by the end of that semester. Before that class I made mostly useful objects. My art piece looked pretty awful – but I knew the difference. And he said go take all the drawing/painting/sculpture/art history/etc. classes you have never had. It’s good for you! So I did. Scared to death. And was lucky to have Marj Hyde, head of the Art Department, as my teacher in a Beginning Design class. We started in charcoal. I had never heard of it. What a mess. But you learn – I had a great semester. And then to drawing – not very good. And painting – again with Marj a bit later. A fascinating class until we got to paint. I couldn’t do a thing with paint. But by the final, I had a lot of ideas that directly sprang from the painting projects – that I wanted to do instead of paint. She asked me for 10 small mockups of ideas – and urged me on when she saw them – even though I told her I didn’t know where paint would come in. She just said what I did would reflect all we had been doing that semester. She was right. And of my 3 pieces for the final, only one
had paint – but those three started a 35 piece series, Canvas Is Material, that went on for years. I was so lucky to have her. My first show of those pieces at Spectrum Gallery was dedicated to Jane Chapman and Marj Hyde.

It was scary when I joined my first gallery. I showed ceramics (most of which sold and kept the gallery going), fiber and sculpture in different media. But you learn there’s no point to fear. You might as well try. If you don’t succeed, try again. It was very liberating! When I transferred to San Diego State University, it was a bit scary again – but by that time I was used to being a student, and I finally had some formal art background. And I was doing my own work with my own ideas. The sculpture department encouraged everything I wanted to do. That’s why it was my major area, not fiber. My master show – Walls/Barriers - was a sculptural installation - a good bit of handmade paper, several large twined metal pieces. wood, light, plastic ladder forms with writings, quilt batting spiral with transparencies on hardware cloth, and built walls to lead the viewer through the seven areas. Plus heart beats, just audible. Huge amount of work but worth it!

Course I also think getting older also makes you realize there’s no point in fear.

Passage#18

Which artist do you most admire?

Magdalena Abakanowicz. I discovered

her work at a fiber show in Los Angeles in 1971-72. Huge, wonderful, strong forms. She came to the San Diego Museum of Art with the curator of the Los Angeles show (I think) to have a conversation. Her English was poor – but her friend, the curator, could translate. It was an inspiring session for a newcomer to the field. It started me looking at the wonderful fiber coming out of Europe, South America and Japan. It was a very exciting time in fiber. Magdalena was at the top. I know she switched over to bronze to be recognized as a fine artist. But for me, her bronze work (though based on her fiber forms) doesn't have the appeal her fiber sculpture did.

When we traveled to Europe in 1972 (my husband had a 7 month sabbatical), we went through Yugoslavia (presently Croatia) and through the city where fiber artist Jagoda Buic lived. I had her address. We found it on the map and stopped at 9:AM. She wasn’t home, but her mother was. She invited us in and served us Slivovitz (a liquor of some kind) and I looked at the work Jagoda had all over her apartment. What a treat! Course her mom spoke no English and I spoke no Yugoslav – but you communicate with body language anyway. I loved it!. Our kids stayed in the car through all this. It was one of the highlights of a very highlight trip! We didn’t get to Poland however. But I hit every gallery and museum I could find in our seven months. It sent me back to college - as an art major. to see Abakanowicz's work go to http://www.abakanowicz.art.pl/

detail, Wall of the Past

What about the fiber medium do you find appealing?

In the beginning I liked the idea of working in/on fabric. I had learned to sew in my teens and for many years I made many of my clothes and even learned how to tailor men’s jackets. Money was tight and it helped! I also learned how to knit and made sweaters and argyle socks for close friends. And crochet. But it was all patterns. Jane Chapman taught us to “create”. I remember my first day in class with my big needle threaded with yarn – poised over my piece of burlap – frozen – not knowing what to do – no pattern to help me. Jane saw me and said “just begin, it doesn’t matter what you do – just begin”. So I began.

Passage #13

What tool could you not live without?

My Hands.

What is your motto?

WORK HARD. TRY.

Cameron Taylor-Brown: The Language of Fiber

2011-06-09T10:18:00.000-07:00

Detail from Red Offering/ Walking Monk at the Vertin Gallery, Calumet, MI

The work of Cameron Taylor-Brown will be featured at The Vertin Gallery's June show, "The Language of Fiber”, from June 3-29. This show coincides with "Northern Wefts," the 2011 Midwest Weavers' Conference taking place in Hancock, Michigan from June 19-26. Cameron will be teaching three workshops at the conference.

ARTSgarage!

2011-03-02T14:30:00.000-08:00

On the afternoon of the Oscars, several artists and teachers gathered in the ARTSgarage in Cameron Taylor-Brown's studio for our first peer-to-peer createIT session. What an interesting group of people, and of course all left with swag bags given this is Hollywood! Here is fellow CA Fibers member Carrie Burkle diving into a pile of fibers to create a color study. ARTSgarage has been a year in the making, and includes a reference library available by appointment. www.camerontaylor-brown.com/#artsgarage

Peggy Weidemann

2011-01-31T17:21:00.000-08:00

"Opposites Attract" by Peggy Weidemann
“32nd Annual Contemporary Crafts”, Mesa Contemporary Arts, Mesa, Arizona, January 21 to March 6, 2011
New work also at:
“Inside Outside”, GoggleWorks Center for the Arts, Reading, Pennsylvania, May 13 to June 19, 2011

“Materials: Hard & Soft” Greater Denton Arts Council, Denton, Texas, Feb. 4 to April 3, 2011-Award Winner

VALYA at ZEH gallery

2011-01-28T19:29:00.000-08:00

VALYA had a solo show at ZEH gallery in Kyiv, Ukraine this winter.

This is felt art. The size of BABA is 6.2' X 5.8'

Valya's Garment debuts at TNNA!

2011-01-27T13:56:00.000-08:00

Cameron Taylor-Brown recently attended the National Needlework Association Trade show, and people stopped her in the aisles to touch this beautiful garment by California Fibers member Valya Royenko!

PollyJG

2011-01-27T11:39:00.000-08:00

Polly Jacobs Giacchina
Commisssion: installed January 2011-Kaiser medical building, Vista California
"Swaying In Unison"-date palm, painted canvas H:33"xW:67"xD:5"

Flickr Group for California Fibers

2010-10-09T10:54:00.000-07:00

California Fibers members can post image of their artwork here. The public is welcome to look at the images, and see works in progress, along with finished works, from California Fibers artists.

Jacy Diggins Obituary

2010-08-18T17:45:00.000-07:00

Dear friend, member and artist, Jacy Diggins, passed away May 13 2010.

2010-08-18T13:38:00.000-07:00

California Fibers at The Wooden Cow Gallery, Albuquerque, NM

2010-08-17T19:40:00.000-07:00

California Fibers, Myths and Meaning exhibit
in conjunction with the Convergence Weaving Conference

Article on California Fibers Exhibit at San Diego Quilt Visions

2010-02-24T07:23:00.000-08:00

Images of work from Liminal Spaces,

2010-01-21T09:51:00.000-08:00

Doshi

Carol McKie Manning

Ashley Blalock

Charlotte Bird

Michael Rohde

Peggy Weidemann

Cheryl Lommatsch

Carol Lang

Polly Jacobs Giacchina

CALIFORNIA FIBERS: LIMINAL SPACES

2010-01-08T09:48:00.000-08:00

exhibit

California Fibers: Liminal Spaces

Visions Art Quilt Gallery

Feb 5 - April 25

2825 Dewey Rd., Suite 100

San Diego, CA 92106

juried by Dr Jessica Hemmings

Associate Director, Centre for Visual & Cultural Studies

Edinburgh College of Art, Scotland

JUROR'S STATEMENT

California Fibers 2010

The work selected for this exhibition reflects the diversity of materials and concepts that define textile art today. Quilts, printed and woven cloth, jewellery, basketry, book art, sculpture, beadwork and photography all make an appearance and contribute to our expanded understanding of the place textiles occupy within the vast territory of visual art.
These particular creations drape, envelope, project and balance themselves in the gallery setting. Their content is as varied as the ways each object inhabits and occupies space. Some narrate fictional events; others ask us to reconsider our environment – both the immediate and the global – and the impact we each have upon it. Abstract and figurative imagery decorates the surface of some and makes up the structure of others. Poetic juxtapositions require us to rethink materials once thought familiar. Finally, there are works that focus on relishing the beauty of a specific material – a simple but often overlooked awareness of the ‘stuff’ that makes up our material world.
The threads that quite literally unite this group exhibition are incredibly varied. They are realised in thread and cloth (as you might expect), but also in wood and metal, photographs and paper. When viewed as a whole, this diversity confirms the vitality of textile practice today. Their one point of connection is simple: textiles are the inescapable record keepers of the complex and often contradictory contemporary world in which we all live.