Repetitive Motions

This has been the summer of repetitive motions. You might leap to the conclusion that I am talking about weaving--the rhythmic throwing of the shuttle from one selvedge to the other, feet alternately depressing pedals--but I am talking about scraping paint off the house, painting on primer, painting the first coat of color, then painting the second coat. Of action that seems like it is going nowhere but suddenly a new view pops into focus. The last week or so it seems the house really is looking different.

Summer house work in Vermont

That's Mark's woodpile at the bottom, referencing the Green Mountains of Vermont. Stacking the wood started the summer work. After some attempts to avoid the house painting (successfully ignored for several years) we just bit the bullet and started scraping. What you can't see are all the clapboards Mark had to replace, or the rotting window frames he fixed, or that the steps are new and include a poured cement step. In other words, what he has done looks so good that you don't notice how much he has done. It's like that with art too.

Garlic from Tunbridge Hill Farm, Tunbridge, VT

It's like that with the garlic we have been peeling for the last month and will continue through October. I never realized that the bulbs I have purchased in the past, white and clean, had to be carefully peeled to remove the dirt in which they grew and the outer stained layers so that the customer could purchase the illusion of pristine bulbs. So, in exchange for our CSA share, we have put peeling garlic into our summer routine. Scrape, scrape, peel, peel. Read.

I am reading Simon Schama's Landscape and Memory. Recommended by a friend, it made my eyes sparkle from the very first sentence. I am trying to understand the myth of place, and this author, who addresses it, along with fascinating, meandering discussions that others might ignore but that he, happily, feels it necessary to explore in order to complete the idea he is addressing. Big old Victorian houses that need painting every year and garlic bulbs and local food are part of the landscape of Vermont. What parts of the illusion do I cherish and want to keep in my life? What parts seem like the DisneyWorld Pastoral Ride to me? It seems many of the places I have lived have strong identities ("Santa Fe" evokes a rich tapestry of images that are quite distinct from the equally rich tapestry of images evoked by the word "Vermont"). When I look at a map of the USA I realize that ideas of place keep me from considering many states as home. In fact, right now, I think the lack of a myth about another place is keeping us stationary.

Elin Noble and friends at her exhibition at Colo Colo

Stationary, not immobile. Just had a wonderful day with a friend driving down and back to New Bedford to see Elin Noble's inspiring exhibition at Colo Colo Gallery. These small marbled pictures are worlds within worlds, swirling energies of macro and microcosm, everything contained in nuances of black and white.

Garden Spirits by Lasse Antonsen at Slocum's River Reserve

We also got to visit the Slocum's River Reserve to see Lasse Antonsen's installation of Garden Spirits. Eeire forms, part tree, part insect, part alien figure, the installation is a wonderful start of a career change where Lasse has exchanged his curator's hat for that of an artist's. I am sure this multi-faceted creator is actually going to be many-headed continuing as writer, teacher, artist, explorer.

Amaral's in New Bedford, MA

What we didn't get to do was shop at Amaral's or walk the beach at Horseneck Beach--both priorities on the trip but proof that things are not in our control. However, I was able to get some Portuguese food items at Marketbasket--needed because the current Dowdy Corners Cookbook Club selection is David Leite's The New Portuguese Table. I made his green soup last night and it was delicious--perfect for these early fall days that seem colder than they are because they are in such close proximity to the glorious warmth of summer. You know I am not a cold weather aficianado, but I admit that I am ready to put away the scraper and pick up a shuttle, exchanging one repetitive motion for another.

Art and Food

Before any of our trips to NYC I always spend time on the computer doing research. I make lists of all the museums and galleries, their locations and what is showing. It doesn't matter that I have copies of the gallery guide, or I have done this before, or even that I think I can find most of them blindfolded, I still make my lists. I also make lists of potential restaurants--and the top item I look for are dim sum restaurants. It is nice to see that Nom Wah Tea Parlor, the first place my mother took me for dim sum when I was a child, is still open and recently getting good press, after a period of some questionable reports. Sadly three trips to NYC and I still haven't fit dim sum into the equation. I think it was easier when galleries were in Soho, but Chelsea is just a bit off the route to Chinatown.

Laduree, Madison Avenue and 71st Street, NYC

We did get to Laduree though. Be sure to click HERE and see their website--the animation just seems so perfect for their product and image. It's located just south of the Whitney Museum, and the Biennial was definitely on our to do list. It was pouring rain and as we approached the store we heard one man say to his companion, "The line would be winding around the corner if it wasn't raining so hard." So we lucked out.

Cookbook with Macaron Recipe

I purchased their cookbook, Sucre, after reading about it on the Not So Humble Pie blog. It came packaged in a box that looked like it was full of sweets, and when you open the box you find this softly colored tissue paper and small book with gold paper edges and a velvet cover. The pictures are scrumptous and I remember that Mark, my friend Marianne, and I just sat there and turned every page in the book--oohing and ahhing the whole time.

A variety of Laduree Macarons--a bit weary from being hauled around all day but still delicious.

I got a selection of different macarons for dessert that night. We cut them into quarters and critiqued them with our friends as we ate them. The raspberry one just seemed like regular jam inside, and the vanilla one (I think) had a sort of marshmellow-like filling that I didn't like at all (and I like marshmellow), but all the rest were delicious. It was so much fun to actually buy and taste them but I think in the future I will just make my own.

Images from the Whitney Biennial: Werner Herzog (top), Lutz Bacher (left middle top), Elaine Reichek (right middle top), Statement by Forrest Bess (left middle bottom), weaving by Travis Meinolf for installation by Kai Althoff (right middle bottom), Forrest Bess (bottom)

The Whitney Biennial 2012 is closed now but we managed to get there during the final week. I thought it was a relatively quiet show. Textiles are definitely a popular medium now and Elaine Reichek's room and the shroud woven by Travis Meinolf were both prominent. I have been a fan of Werner Herzog since seeing his Nosferatu in 1979, and as I approached the space where his installation was located, the music coming out of it let me know I had arrived. If you click on his name in the previous sentence, you can listen to a discussion he had with the curators of the Biennial on May 17th. Does anyone else have such a wonderful hypnotic mesmerizing enthusiastic voice? He opens my heart to wonder.

Opening of Silence at Masters & Pelavin, curator Jaanika Peerna (left), Anne Lindberg (second from left) and other artists in the exhibition; "Sleep" by Anne Lindberg (below)

We timed this trip so we could attend an opening of the exhibition Silence at Masters & Pelavin, which included work by our friend Anne Lindberg. It was packed, so the title Silence was like an oxymoron--but then the curator, Jaanika Peerna, asked for a moment of silence and a sense of peace took over the room. Mostly I get to encourage and applaud my friends these days through Facebook and email--we are all so spread out in space--so it was really meaningful to be able to see Anne (and her husband) and share her success in person.


On the way home we spent hours at DIA Beacon. No pictures are allowed so you will just have to go in person and experience the work, the place, the ambiance. My advice: GO! To me it was definitely a holy pilgrimage. This is the art that I understand as "Art." Robert Ryman, Sol LeWitt, Agnes Martin, Blinky Palermo, Walter De Maria...and the list goes on. GO!     

Anchor Point

New York Happiness

While thinking about moving again (nomadic to the core), I heard myself saying about one possibility, "but it's too far away." So then I had to ask, "too far from what?" and realized that New York City is still my anchor point. I was born in the city, and though raised on Long Island, I always knew it was where I would go when I finished college. It is the only place where I have my bearings. I know north, south, east and west when I am on those streets. A trip to New York is always anticipated with excitement, and savored afterwards. This past week we went there, though most of the trip involved activities near the city rather than in the city. It's too much to share in one post, so I will begin here, and try to return in a timely manner to tell the rest.

Gail Hovey and Pat Hickman in front of a work by Lillian Elliot

We spent the first night overlooking the Hudson River in Rockland County with Pat Hickman and Gail Hovey. Their home is full of textiles, ethnographic and contemporary. It confirms a kinship I feel with them and with their curiosity and creativity. Their move from Hawaii to here has brought them back into the thick of a cultural pulse that I long for. Before finding their house, they found Pat's studio, which we visited the next morning. Gail has dedicated writing space in their home. Clearly they have their priorities right.

GAGA Arts Center
Pat Hickman (top left); Step Gorin (top right);
Eric David Laxman and Pat Hickman (bottom right)

Pat's studio is in an old calico mill, now called the Garner Arts Center (GAGA). In the short time we were there we met several other artists who have space in the buildings. Steph Gorin, owner of Loop, is just down the hall from Pat. She was just back from the Maryland Sheep and Wool festival where she was selling her fiber and yarn. (Someday I am going to make it to that event.) She has a wonderful smile and enthusiasm for what she does, and allowed me to photograph her equipment. As an owner of a high tech loom (my beloved TC-1), I could really appreciate her equipment and the unique yarns she creates for others to use. (By the way, did you know the TC-2 is launched and that Vibeke Vestby will be bringing them to Convergence this July?) We also met Eric David Laxman, a sculptor whose studio was badly damaged from Hurricane Irene. He was actually clearing it out for a move to a new home studio, but he still has a gallery at GAGA. We were also introduced to several other artists, and left appreciating the support community gives to each other, and at the same time what dedicated studio space opens up for creative work.

National Basketry Organization Quarterly Review
Spring 2012
Pat Hickman article by Catharine K. Hunter

When I was a student in the late 1970s, the collaborative baskets of Pat Hickman and Lillian Elliot were very prominent in the fiber world. I think it is one of the great things about this field that people have always been approachable and friendly. I'm not embarrassed to say that I feel awe when I realize that I have become friends with Pat; that she and Gail welcomed us to their home and the conversations reminded me of why I am a weaver and how much I love textiles (some of them). We all have changed over the years, just as the field has changed, and I certainly see textiles being used by artists everywhere--but the identity with this material is not the same today as it used to be. We have changed too, but there is some fundamental devotion to the lineage of textiles that is essential for me--and I am glad to find this devotion alive and well in Pat, even though fiber is too narrow a definition to describe her work. She gave me a copy of the National Basketry Organization (NBO) Quarterly Journal with an excellent article on her work written by Catharine K. Hunter. The image above shows the magazine article, with one of my favorite sculptures by her, Garlic.


In the fall when I went to NYC, I also intended to do several posts about the trip, and instead I only did one, and then stopped posting for months and months. This time I promise to continue in a day or two.

Spring Post

My Roof: West by Bhakti Ziek, 2012

Detail of My Roof: West by Bhakti Ziek

Although I haven't written in this blog for many months, I certainly have thought about it. Too bad you can't read my mind, some of the posts were intelligent and interesting. On the other hand, maybe it is a good idea you can't read my mind.

I wanted you to know that I finished my six panel weaving My Roof and have shown three of the panels in Philadelphia at the Art Alliance (My Roof: East) and tomorrow the other three panels (My Roof: West) debut at the Durango Arts Center in the exhibition Textiles Today: Redefining the Medium, curated by Ilze Aviks. The exhibition will run from April 24 - June 2, 2012. 

Pat dipaula Klein preparing Chocolate Tart from Lovin'Oven in Fenchtown, NJ

But I admit the thing that really got me excited about posting was the chocolate caramel sea salt tart shown above. Pat dipaula Klein is a wonderful artist who lives near Philadelphia. We were colleagues together at Philadelphia College of Textiles & Science, but our friendship really developed through the connection to BigTown Gallery in Rochester, Vermont, where we both show. She and her husband come to Vermont each year to visit good friends and we have gotten to know each other, which has also blossomed into a wonderful email exchange. Pat's daughter Julie owns the Lovin' Oven in Frenchtown, NJ and she was featured on the Food Channel's The Best Thing I Ever Ate. I saw the program and have lusted after her salted chocolate caramel tart ever since. We even stopped at the restaurant on our last trip home from Philadelphia but forgot to check days and hours ahead of time and pulled up to find it closed. So when Pat said she would bring dessert to dinner this week ("something from Julie"), of course I requested THE Tart. It was the perfect ending to a wonderful evening of friendship, laughter and buzzing energy. I can still taste the burst of salt mixed with the chocolate and caramel. Next trip to Philadelphia we will time it for a full meal at the Lovin' Oven with Pat and Phil. I know what I will have for dessert.

New York, New York

Beginning and Ending of Trip

Just back from a week in New York City. We went there primarily for art but of course I took advantage of the fact that macarons are everywhere and did some scientific research on taste. Prices ranged from $1.95 to $3.00 per cookie, and texture and flavors varied considerably. They all looked pretty but I would not purchase any of them a second time. On the other hand, the cappuccino pictured above at the Espresso Bar on 6th Avenue near 57th Street was definitely something to repeat.

New York Moments

The weather was beautiful, the moon sublime, and the city familiar and strange at the same time. We noticed so many wonderful new buildings, and visited some classics, like the Chrysler Building above right. We made pilgrimages to some art supply stores, resisting temptation until we got to Kremer Pigments, middle left above. It wasn't just the seductive shelves of color, but the kindness of the two people working there that convinced us to make purchases. I found the current bible of natural dyes there (Dominique Cardon's Natural Dyes) and snapped it up (okay, Amazon would have been less but this place had character).

We went to museums and galleries (I will post about some later) and were amazed at the crowds viewing art. I remember turning to Mark and asking, "Do all these people really love art?" He reminded me of the high entry fees for entering the museums, so clearly they must have some commitment to be there. In the past I could always find an area of the MET that was quiet and off the beaten path--the crowds staying in the current blockbuster, the art lovers wandering into the corners--but this trip every room of the MET (and we probably entered most of them) was crowded.

The city seems much cleaner and upscale in all the neighborhoods than before. We went north, south, east and west and it was very rare to see someone asking for money. The one street dwelling that I saw had an Ikea chair like one I used to own. Of course I am older than when I last visited New York (it has been almost 11 years), but the population of the city also seemed much younger and wealthier than I remembered. I was a resident of the city at 21, so I know about "owning" the city, about posturing and attitude, but we did it on a shoestring. Even today I feel hailing a taxi is an outrageous way to spend money. The 7 Day Metro Cards that we purchased made the buses and subway extremely easy to use.

This trip was really a "grant" from two wonderful friends who went to Portugal and invited us to stay in their apartment. We missed seeing them (luckily had dinner with one of them the last night) but we were able to spend time with some other friends. David Reisman and Mark (above bottom right) studied art together at University of Kansas in the late '70s--and they are both still making art. Going to Chelsea galleries with him was lots of fun. 

Egyptian Order at the MET

When I got home I noticed that Mary Early had posted an interesting article on Facebook about organizing things and it reminded me of these images I took at the MET in the Egyptian area. Aren't the stacks of linen wonderful?

Just a note to say that the exhibition I am in with Pat Adams, at BigTown Gallery, has been extended until October 23, 2011. Things are getting back to normal in Rochester, Vermont with many of the roads accessible now, but that town has been badly hurt and if anyone wants to contribute to helping this town that truly has a heart, you can make a donation. Click HERE for a link. New York Times mentions Anni Mackay, owner of BigTown Gallery, as one of the town heroes.

Erratic Blogger

Mark's Woodpile Summer 2011

Maybe you noticed I added something to my blog heading--"erratic blogger." I thought about sporadic blogger but decided erratic was a better description of me. This way I can blog daily if I want to, or monthly, or as it seems right now, not even monthly. I think about it...but I don't seem to get there. Mark's summer woodpile shows the seasons here. Another round has started and we are drying out the wood we will need over the winter. Last year we actually had enough wood in the basement to skip a new pile, but this year's stack seems to be generating lots of neighborhood comments. All positive--it is an impressive form.

Jessica Smith and Bhakti Ziek

This week seemed to bring Lawrence, Kansas energy into my life. I realized that I am living my Lawrence, Kansas Victorian house dream in Randolph, Vermont. A good example of not getting what you want when you want it, but if you persevere you might get it in another form down the road. I love this house, and the way I am working in it -- seriously creating new work absolutely reminds me of my days as an undergraduate in Lawrence. Something about working in such a diligent way brings so much hope and insight into my life. Jessica Smith, who teaches at Savannah College of Art and Design was one of my graduate students when I returned to Lawrence in 2000 as a teacher at the University of Kansas. She came up here to hike and I was lucky to have visits on both ends of her camping trip. I loved having her be the teacher now, and me the non-teacher. Her work is amazing and I am going to show it at the workshops I am teaching next week for the New England Weavers Seminars (NEWS). So I guess sometimes I am still a teacher, but not too often.

Mark Goodwin, Bhakti Ziek and Gail Moran

Just after Jess left to continue her travels, our friend Gail Moran showed up. We know Gail from Lawrence, Kansas also--but from those undergraduate days in the late 1970s. We remember going to a waterfall with her in 1983 in New Mexico, when we were travelling across country after 16 months in Asia, and she was living in Albuquerque. She doesn't remember that but remembers visiting us in Philadelphia when her eldest son was a baby and her 18 year old son wasn't even born. We remembered that visit but not the Philadelphia part. It was so great to catch up, and also go down memory lane. She said I was passionate about weaving back then, and I still am. In fact, I just finished a weaving today that I am really excited about. I am working towards an August two-person show that will be at BigTown Gallery. I will post about that later, sometime, sooner than later.

Randolph's Fourth of July Parade

Like the woodpile, the Fourth of July Parade is another marker of time. The parade comes right past our house so we always have front row seats. This year seemed especially nice--and though the oxen were missing, there were a few small horses, chickens, and sheep, as well as tractors, old cars, and lots of fire engines. I told Gail she was going to experience quintessential America in this parade, and I think she wasn't disappointed.

Did I ever announce that I finished a website for Mark? You can click HERE or go to this website if you want to see his work.

www.markagoodwin.com

Later this summer, or early fall, after the workshops at NEWS, after Michele Wipplinger's Color Institute Workshop which I am taking at Long Ridge Farm in a few weeks, after tutorial teaching, and after my exhibition at BigTown, then I plan to do a new website for myself. Maybe I will blog in there too--but now that I am an erratic blogger I won't feel guilty that my posting is unpredictable.

Report on Road Trip -- Part III

Beautiful Washington D.C.

Washington D.C. was showing all its beauty last week, and I was thrilled to have a strong fix of urban energy. One stop was to see the work of Ford/Forlano who were exhibiting their incredible jewelry in a small show downtown. I might not wear jewelry myself, but I am always inspired by the creativity of Steve and David. We also stopped by Hemphill Fine Arts to see the current exhibition and catch up with one of the directors, Mary Early, whom I met in Vermont recently. Mary's sculptures were featured in the January/February 2011 issue of Sculpture Magazine. Next time I am in D.C. I will definitely make time to visit her studio.

I was very concerned about the potential government shut-down (not just because it proved that politicians think life is a reality TV show and the public so stupid that they can't see through their cliff-hanging-wait-to-the-last-minute shenanigans) but because I really wanted to get to the Hirshhorn Museum to see the Blinky Palermo exhibition, and of course all the Smithsonian Museums would all be closed if the government was shut down. Mark has mentioned Palermo to me for many years, and he particularly wanted me to see the work shown in the image below (which I found on the web since I wasn't allowed to photograph in the exhibition itself). When I walked into the room I thought they were paintings, but in fact they are dyed cloth impeccably sewn together so you hardly notice the seam lines. Beautiful nuanced use of color, and a very innovative way to paint back in the late '60s. Even today it would be considered innovative (in any other world except the textile world). Another contemporary artist who works with fabric but is not defining himself in terms of textiles is Sergej Jensen.

Fabric paintings by Blinky Palermo

One of the things that really delighted me about the Palermo exhibition was that they gave the work the space it needed. In one room, there were four small cubes of color attached to a corner, two on either side of the wall joint. That was it. It just thrills me to see work displayed like this. On my way home, I stopped for lunch in Philadelphia with my friends Michelle Liao, Meg Richter, and John Struble. We had a delicious beet salad in Michelle and John's loft, which is above Michelle's store, the Liao Collection. It also happens to be blocks from Chinatown. So I was impressed that I enjoyed the salad so much (so much that I made it for Mark's birthday a few days later) that I didn't kick and scream about not having dim sum with them. Maybe it was because hanging out in that loft is like going to the museum--there is nothing redundant or frivolous in the space. Every object is perfect, and they are placed so the whole is about air and light and beautiful energy. I love these three people so much that I could weep every time I think about leaving Philadelphia and our weekly dinners together. What is incredible though is that life has brought important changes to all of us, but the heart connection is still so strong and vibrant. A trip back to Philadelphia is definitely in the works.

Philadelphia Friends: Meg Richter on left, Michelle Liao in center, John Struble on right

I drove from Philadelphia to Greenwich, NY without problems--but arrived at my friends Cyndy Barbone and John Golde's home in the dark. I must have driven up and down the same stretch of road six times before I finally parked my car in someone's driveway and got out to try and find a house number. I found one four houses down from my car--and when I counted back, it turns out I had pulled into their driveway. Cyndy is an amazing weaver. She usually makes narrative panels that add up to a story about light and spirit. A visit to her studio the next morning showed some of those, as well as fabric being woven on her loom that will become a winter coat. Since Cyndy has visited us in Vermont a couple of times, I was so glad to reciprocate and see her place. It is really rather close, so I imagine we will see more of them this summer.

Cyndy Barbone with her weaving and Peanut on the left;

work in progress and sample woven and shrunk on the right

So that pretty much covers my amazing, energy-filled trip to Maryland/D.C. area. While I think about it, I want to mention a book I just finished: Seven Days in the Art World by Sarah Thornton. It is not the art world that I know. In fact, I doubt if anyone I know on a day to day basis is part of this art world--but it is a world that influences all of us, and perhaps what we aspire to (sort of). It describes a type of collected work that is beyond my sense of ambition. I keep thinking, how could I possibly return to the loom and make new work if one of my pieces sold in auction for 2.5 million dollars yesterday? I would be paralyzed with doubt. It would be out of all proportion to the sense of exploration that I need when I go in the studio. In order to work, I have to allow myself to fail, but if I had those kinds of expectations surrounding my work, I would certainly fail because I couldn't start. That said, I am excited that one of my most ambitious weavings is going to be on exhibit in Barre, Vermont at Studio Arts Place. I am not sure where it was seen, but someone who saw the piece on line (I think) suggested to the director that this work would fit the theme Refuge. I liked the idea, not just because the weaving forms an enclosure, but because it also has references to the Buddhist Wheel of Life and has an image of the sleeping buddha on one of the panels. Buddhists often "take refuge in the Budhha, the Dharma, and the Sangha." My weaving, Wheel of Life: The Passing on of Knowledge will be on view from April 26th to June 4th.

Exterior Views of Wheel of Life: The Passing on of Knowledge by Bhakti Ziek

Report on Road Trip--Part I

Myra Serrins in her studio

Natural Dyes 1 by Bhakti Ziek on left

Woven Dyed Piece by Myra Serrins on right

My road trip to Maryland/Washington DC area was so chock full of experiences that I will have to report on it in several posts. I stopped the first night with my friends Myra and Marty--just in time to go to Myra's yoga class. She is the teacher--and a really good one too. I didn't like yoga when I did it in the 70s, and I didn't like it recently when I tried a class here, but I actually enjoyed working with Myra. It definitely felt like the perfect antidote to hours of sitting in the car. I was pleased to see a couple of my weavings hanging in their house. Natural Dyes 1 is shown above, left. I wove it in New Mexico, and the warp was ikat dyed using natural dyes. Myra is a serious committed artist (my favorite type) who works in several medium, including weaving. I love the depth of black in her weaving on the right. If you click on the image it will open in a separate window and you can see the details of it better.

Blossoms Two Ways

I left piles of snow and no traffic, but the snow was gone by lower Vermont. By the time I reached Webs in north central Massachusetts my hands hurt from gripping the steering wheel with tension. I tried to remember Mark's suggestion--just stay in your lane and you will be okay. You would never know from my fear of traffic that I am a New Yorker. The first day was the worst--then I calmed down. (And I did manage to make it home safely, so I guess everything in terms of driving went well.) The trees had fresh small leaves in Massachusetts, there was green grass in upper New Jersey, and flowering trees in Maryland. I had to go and meet Spring, since she hasn't shown up here yet.

Since I mentioned Webs, I might as well tell you that I was so disappointed with the yarn that is available for weavers these days. I needed some black novelty yarn, a boucle or something like that, and they had one shelf with some variegated yarn on cones, and nothing else. I ended up buying a few balls of expensive knitting yarn to try it, but....I really miss Irene and Cooper Kenworthy in Providence.

Tied-Weave Study Group on left

Chris Spangler, Lanna Ray and Caroline Harlow on the right

Chris Spangler and her husband were my next hosts. A group of fantastic weavers were meeting at her house on Friday for their Tied-Weave Study Group. I don't think that is the actual name, but this year they are studying Tied-Weaves. Bonnie Inouye (second from left on sofa) was the moderator. I can name all of the people (Joyce Keister, Bonnie Inouye, Mary Pflueger, and Janet Stollnitz are on the sofa, left to right; Lanna Ray, Fern Grapin, Anna Byrd Mays, Chris Spangler, Caroline Harlow, and Larry Novak are standing, left to right) and I am sure if you are a weaver you know many of them too. If you click HERE you will go to the Potomac Fiber Arts Gallery Members' Page, and you can see work by Joyce, Janet and Larry and many of the other people who took my workshops this week.

Everyone brought food (you know how I love pot lucks) and I was entranced by Lanna's asparagus tart. It was a Martha Stewart recipe so of course it was beautiful. She shared the recipe and I am going to make it tomorrow for Mark's birthday.

Chris Spanger at her TC-1

Weaving by Chris Spangler with detail at the bottom

Chris has a TC-1 loom like mine, except she has six modules so she can weave at 45 epi at full loom width (28"). When she upgraded from four to six modules, she also purchased the new vacuum pump which has the capacity of running eight modules. She has both the vacuum and the air compressor in her garage, so weaving is much quieter than my set up. When I arrived, we photographed her recent weaving (shown above on the right, with a detail at the bottom) so I had the image on my camera to share with you. It is really beautiful. I don't have the exact measurements but I think it is about 7 feet high. The detail shows you how she pixelated the image so close up it is very abstract but from a distance it focuses into a landscape. She wove double weave with four wefts and has enormous color variation and nuance in the work. Chris has a new blog, and you can go to it by clicking HERE.

I have been very lucky in my ownership of a TC-1 loom, and now I am even luckier, because Chris had her former vacuum pump in the hallway and wanted to get rid of it. She offered it outright, but I felt an exchange was necessary--so she now owns one of my small weavings and I now own two vacuum pumps. That means I am one giant step closer to being able to upgrade my loom to more modules. If you want to learn more about the history of the TC-1, click HERE to go to a recent entry on the TC-2 Blog.

So I had a very auspicious beginning of my trip and when I went to give my lecture and teach the first workshop the next day for The Potomac Fiber Arts Guild, I already knew the names of 8 participants.

Food

Mexican Wedding Cookies

photo by Holly Jennings

A mutual friend recently introduced Holly Jennings to me. We both went to Cranbrook Academy of Art for graduate school, different years, different majors (fiber for me, photography for her), but two years in that environment is sort of like a secret handshake. It seems almost improbable that we would both be in Randolph, Vermont and have gone to Cranbrook, but other grads keep popping up and right now I think I know 9 people in this close vicinity who have gone there. The alumni association said there are actually about 60 grads in this area, meaning Vermont and New Hampshire and lower Quebec. I thought about hosting a party (they won't give out names but they would send emails to everyone for me) but then thought better of it. I still might invite the nine I know to a pot luck, if spring ever arrives and I feel more social.

Holly and I also share a passion for food, though I do believe she is more focused than I am. She has put together a wonderful blog, The Dowdy Corners Cookbook Club, which I try to read every few days. It actually is a group of people that read cookbooks, make food from the books, and gather for a meal based on the current selection. I almost joined, but since I have a bad track record for joining and quiting, I decided to save myself the hassle and just not join. Instead I am lurking. The current selection is Diana Kennedy's The Art of Mexican Cooking. I missed out on purchasing the book when the club members' got theirs, but thought I picked up a copy when I went to Burlington. Wrong. I got The Essential Cuisines of Mexico, which is a compilation of three older books she has written. Holly had a stack of different books by Kennedy at her house the other day, and surprisingly they really do have different recipes in them. I have made the cheese chile rellenos from my cookbook twice now--and they are incredibly good. Since I lived in Guatemala and Mexico for five years in the early '70s, I never had a cookbook before, thinking I knew how to make beans and rice and rellenos. But following her recipe has convinced me that there is much to learn, and it is worth the effort to follow her instructions.

Holly made me a lunch using a delicious shrimp recipe from her book, and I brought Mexican Wedding Cookies for dessert. I actually didn't use the recipe which is in The Essential Cuisines book because it called for lard. Instead, I went to my trusty Martha Stewart's Handbook of Baking and followed her recipe. That book never fails--even though my oven has been misbehaving--and only the broiler coil got hot. For about two weeks now I have been baking by heating the oven to where I need it to go using broil, then turning it off, putting in the cake/cookies/whatever, and letting them cook--taking them out and reheating with broil sometimes, and returning them to the oven. Not a great way to cook, but it worked with the cookies shown above.

Lucky for me my neighbor is a genius and this morning he has fixed my oven. And if it doesn't last, he has already procured a backup plan. So I feel secure. Without my oven I feel very insecure.

By the way, Dowdy Corners Cookbook Club is open to anyone to join. There is a great post on queso fresco that includes a recipe that was posted on March 24th. I think when groups start gathering in different areas of the country, and report their findings on the blog, it is going to gain a big following. I might even join. And you?

End--Begin

Sandra Brownlee visiting from Halifax, Nova Scotia in front of Continuum by Bhakti Ziek

Sandra Brownlee, weaver extraordinaire and one of the most creative people I know, came down from Halifax, Nova Scotia to help celebrate the last day of my show. It is always stimulating to talk to Sandra, and she walked through the exhibition giving me applause and encouragement. Since endings are beginnings, this was a perfect time for her visit. (You can purchase Sandra's book, Departures and Returns, directly from her. Just click on her name above and go to the contact page for information.)

The next day I lingered taking one last look at my work (see image below) before packing them up. Working towards a specific space was very helpful for me, giving me a parameter in terms of scale that I don't usually have. Knowing the distance between the windows for example, helped me determine the group of small rectangles. I could have gone with long vertical pieces, but didn't. I am thinking that is my next direction. So out of one project, which definitely came to a conclusion, is a spark that will ignite the coming work. Endings can be hard, but when I remember that an ending is also a beginning, and that life is a continuum, then I find a good perspective.

Last look before work comes down

I am not sure if I heard this directly from Ed Rossbach at a lecture or if I read it in a catalog--but I remember the story. Although Rossbach's work was much sought after by the time of the telling, he was referring to earlier in his career when he would send work off to shows and it would all come back after the show, and he would put it in his closet. He said one day he had a realization that would save him on expense and hassles. He realized he didn't have to send the work off, he could just make it, and then put it directly in the closet!

Definitely a man after my own heart. It took me almost a week to finish the task of getting the new work into my closet. After packing it in the gallery, I had to bring it home and repack with acid-free paper, then carry them to the third floor, remove everything from the closet so I could reorganize and repack the closet, making a chart of where things were stored as I went along. By the end I stopped writing on the chart, but I think I can find everything if necessary.

Closet for storing my work

Winter seems really long by this time of year, especially for someone like me who has never been a fan of the cold. I find refuge in the kitchen, and have had some real successes recently. I fell in love with these cooking pans at King Arthur Bakery. Online they call it a hamburger bun pan, in the store they called it an english muffin pan, but I immediately thought, little cakes. I tried to stack three layers--you can see one in the image below--but the layers were too thick for that and the rest became small two layer cakes. Next time I might try very thin layers and see how many I can stack together. And the chicken pot pies, made in individual oven proof bowls, were spectacular. I was remembering the chicken pot pies from the Horn and Hardart Automat in New York City (you would put in change and the little door in front of the item would open and you would take it out--total delight for a child and probably for the adults too.) I tried to find a recipe online and was surprised that I couldn't find one, though there is a book out that might have it. I will have to check, but the link for the book does show the bank of small food windows, if you want to see.

Recent baking triumphs