A week or so ago I was in Alton to meet some people at the Jacoby gallery. Did some antiquing afterwards and came across this tin box. Could not believe my luck or the price! $27 bucks. I plan to use it for curing fabric before washing.
I'm still trying to figure out where I read (years ago) that the Japanese use tin lined boxes for curing naturally dyed fabric (indigo?) up to 2 years. My friend Kimberly Baxter Packwood suggested that with humidity, the tin would act as a mordant which I suspected. I don't want anything to mildew while in storage, so hope to keep it dry--which is perhaps why it takes so long for the curing process.
I have allowed berry dyed fabric to cure 2 months or more before washing--no need to do that with walnut or rusting. But TWO years is LONG time to wait. So if using color I need to plan way ahead. The interior is just as shiny as can be. The outside is a lovely patina and the lid is red. I forgot to photograph it closed.
If anyone has a source for information regarding curing fabric in tin boxes, I would appreciate your sharing it.
Friday, September 30, 2011
Thursday, September 29, 2011
First time since 2002 that I haven't participated--just couldn't spare the time to make scarves when I had the collaboration show to deal with...but the upside is that this year I get to see everyone's work instead of being stuck in my own venue.
Mark your calendars!!
Saturday, October 15, 9 AM - 5 PM
Sunday, October 16, 11 AM - 5 PM
ARTEAST was initiated in 1998 by a group of artists as a way to pool their resources and bring attention to the extraordinary artists in the Metro East area of St. Louis. Now in its 14th year, ARTEAST continues as an event designed to showcase the artists who live and work in Madison County, Illinois.
Artists from this region participate by opening their studios to the public or participating in exhibits. Over 120 artists working in a wide range of disciplines including collage, painting, ceramics, photography, printmaking, sculpture, glass and digital media show their work and demonstrate their craft.
Organized as a self-guided tour for patrons, ARTEAST provides an opportunity to get a glimpse into the workspace, inspiration and techniques of our resident artists, while exploring the neighborhoods, historic city centers and beautiful countryside.
The event is free and open to the public.
The poster (with map on the back) is available at Jacoby Arts Center and most venues. You can also print out maps from the website at www.arteasttour.com .
ARTEAST Small Works Exhibit opens at the Jacoby Arts Center Friday, October 7, 5-8 pm with a reception. The show will be up through November 6. Most participating ARTEAST artists will have a piece in this group show to provide a preview of the ARTEAST tour event mid-October.
|Ron Vivod, Alone in the Dark, Photo Digital Artwork|
Eden United Church of Christ
903 N. Second Street
Edwardsville, IL 62025
Saturday, September 17, 2011
|Gallery view of Fiber Focus exhibit at Art Saint Louis|
Trudy Rogers-Denham, Columbia, MO Best of Show Award sponsored by Missouri Fiber Artists
Friday, September 2, 2011
|Interior long view of SKIF International in St. Louis|
|Hand labor experience in the atelier|
I first encountered Nina in my classroom at Notre Dame High School where I taught art for nearly two decades. She and I talked recently about her high school years. Both of us are fuzzy on details. (Give me a break--it was the 80s!) I remember asking about her "portfolio" (during her senior year) only to hear that she'd made a bonfire in the backyard over the summer and burned most if not all of the art she'd made to date. I was shocked by the declaration but also in awe of her confidence. She knew then what was of value and what needed purging and she is the same today. I'm touched, however, that she still has the art award I presented to her, an odd bar of glass she coveted from my desk. And one look around the riot of color and design, found objects, racks of colorful fashion, murals on wall and floor and still lifes everywhere convinces me that something else of the Notre Dame Art department rubbed off on Nina too.
|One of many still lifes scattered around SKIF|
I asked Nina what she got out of her experiences across the pond. I wondered where she'd gotten her business sense. From the sprinkler businessman, she explained, came her understanding of handling money. I should add that when she first arrived in Milan, Nina fearlessly talked her way into a job involving knitting machines (for which she had no previous experience) that lasted all of two days. She could sew however, having learned at an early age from family. So she began sending out resumes. The Paris designer she described as "anti-marketing". He was mysterious, never gave interviews. But she credits her clothing design skills to those four months with Margiela where she came to appreciate the artisanal, handmade things and especially the raw edges that Margiela favored as seen below. Perhaps the greatest lesson was how NOT to treat employees. In Paris she was hired to "basically sew--by hand and machine, leather and recycled costumes. No pay, no thanks, minimalist grunge".
|Martin Margiela fashions|
Nina returned to St. Louis in 1993 with big ideas. On a visit to the Gypsy Caravan, a huge open air flea market held yearly in St. Louis, she stumbled across and bought huge cones of mop yarn made in the USA. (I asked, and yes, it is yarn for making mops!) She acquired a knitting machine and video instructions and practiced for a couple of weeks. (Remember those 2 days in Milan!) She began turning out sweaters which friends snapped up. Word began to spread. A high school chum of Nina's modeled the sweaters for her in this album.
|Early sweaters by Nina, modeled by Trina (Boyer) Barchi|
|NY runway show, courtesy SKIF website|
|Gorgeaous blues on the rack--spring 2011|
|SKIF International office/shipping area|
|Sweaters drying--fresh from a very yellow dyepot|
When I first approached Nina regarding the collaboration show, I naturally assumed that her contribution would encompass the tools of her trade. But yarn was not on her mind. Over the years she has surrounded herself with all sorts of found objects in the factory that are artfully arranged in the shop for all to enjoy. Found things have also become design staples. The block print used on the seersucker fabric I selected at the swap meet came from a sheet of carved plywood abandoned next to a dumpster. Nina has been using it ever since to print fabric and sweaters. You can find examples on her blog.
As luck would have it, one of the items Jo Stealey brought from her studio for the collaboration swap meet were a set of vintage porcelain casters that Nina grabbed the first chance she had. They were incorporated along with some paper bowls made by Jo into a mobile structure she appropriated from an artist friend and made her own.
|Photo of opening by Andrew Dobson of Jacoby|
Nina took fabric from me that she whipped into a great dress. She also stitched shibori rusted silk onto stool cushions that are in the gallery to scoot around on. She constructed another very large mobile and a felt and paper cone piece that hangs on the wall. Pictures of those things will be included in a post about the show in general.
Nina's confidence, shrewd business sense, vision and creativity have ensured her success even through this damaged economy. I've enjoyed getting reacquainted with her through this collaboration process and I can't thank her enough for her generosity in allowing SKIF to become the meeting place for the collaboration group--even supplying the computer on which we Skyped Erin Cork when she was in Virginia.
Thank you Nina, best wishes for you and for SKIF!
Check out the SKIF website and Nina's blog.