bed book peek: Scandinavia – part 1

It feels like time to share another illustration from the bed book. This one is set in Scandinavia, with children sleeping in a cubby style bunk bed. I must have made it last summer, from the look of the green leaves outside the window in the photo above, It’s hard to keep track of time because I’ve been working 7 days a week for about 2 1/2 years straight. Between the Wee Folk Players series, the animated film and this book project, it’s been a stitching marathon around here. Hey, I’m not complaining – this is what I love to do and it’s a handy excuse for getting out of social obligations. But, I’m almost finished, with just the cover to do this month. And then, I’m going to switch gears to the garden, which has 2 years worth of overgrowth!

This scene will be included in My Bed, a book about where children sleep around the world, with each spread depicting a different culture and living environment. The story is written by Rebecca Bond and will be published by HoughtonMifflin in 2020. Here are links to posts showing other finished illustrations for the book: 
Holland,South America,JapanIndiaAfghanistanRussia, North AmericaNorth Africa and Iran. To see a list of all my books, click here

I am happy to announce that the original illustrations for the book will tour the country after the book is published in the fall of 2020. The Cahoon Museum in Cotuit, Massachusetts will host the premiere exhibit and other venues will follow. As with Pocketful of Posies, I am scheduling a 3 year traveling exhibit, so that more people can see the “real thing”, which is a totally different experience than looking at reproductions on the printed page. Interested museums and art centers are welcome to contact me for information about hosting the exhibit. You can help bring the show to a place near you by reaching out to your local venues and telling them about this opportunity. It would be wonderful to have the original illustrations make their way across the whole country!   

To make this double page spread, I started with the roof, which has a string of felt shingles folded over, accordion style. Then, I got to work on the walls and bed frame in the interior.

I cut out little tree shapes and edged them with blanket stitch.

There was enough variety in the brown hues to make the shapes stand out on top of the background strip. So, you may ask, “Where do you get your felt?” The stuff I use is a plant dyed, thick wool/rayon mix, that I hoarded a few years ago. Unfortunately, the business seems to be on hiatus. You can get some nice plant dyed and commercially dyed wool felt from A Child’s Dream, though.

I sewed Soft Flex beading wire along the edges of the architectural details in this illustration. It adds a firmness that helps keep the felt pieces from flopping over.

Stay tuned for part 2, which will cover the exterior scenery.

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finding my voice

On April 13th, I had the pleasure of speaking about my work to an audience at the Cotuit Center for the Arts. I’ve given many talks, but this one was different. The arch of the story has shifted from a straight forward account of my development as an artist to one of personal transformation. Sure, I still gave a glimpse at my process and showed early work, but this time it was presented as a journey of discovery, with twists and turns that guided me to a place where I’m ready to take risks and be more outspoken with my art. I talked about how I found my voice and described what it’s like to go from the land of innocence into the real world. Not too long ago, it seemed like all anyone could talk about were my techniques and workmanship, but now people are commenting on the content, which is what I’ve always wanted. The audience was wonderful – they even laughed at my jokes! People who were there described the presentation as enjoyable and inspirational, with just the right amount of edge to keep things interesting.

My talk was not videotaped, but Rob and I are thinking about putting together a encapsulated version to share. As always, the challenge is to find the time to do it. Until then, I thought I’d offer the following excerpt of my opening remarks and a few slides from the beginning and end of my presentation. In my introduction, I refer to my exhibit, Liberty and Justice: The Sweet to Satirical Art of Salley Mavor, which just came to a close. I’m excited to say that a select group of pieces from the show, including the film and display case full of characters and movie props will be going to the Brick Store Museum in Kennebunk, ME for The Art of Cute exhibit (May 1 – Aug. 31, 2019). Two other pieces of mine, Displaced and Cover Up will also be shown. The large exhibition, which is curated by the Illustration Institute, takes a serious look at a powerful aesthetic that is often not taken seriously. From the little bit I’ve seen, it promises to be one of the most unusual art exhibitions you are likely to see this year. I hope to meet some of you at the opening reception on Friday, May 10, 5 – 8 PM.

Opening remarks before “Once Upon a Thread” by Salley Mavor
April 13, 2019 at the Cotuit Center for the Arts.

Before launching into my slide presentation, I’d like to share some thoughts about the Liberty and Justice exhibit that’s upstairs. Truth be told, I hate talking about politics. At a dinner party, I’m the silent one, watching and listening to the sometimes heated debate swirling around me. But when political forces invaded my safe little existence, I felt compelled to act. In the first days after the 2016 election, I knew that it wouldn’t be long before artists, writers, comedians, playwrights, filmmakers and musicians began using stories, irony and metaphor to help America and the world cope with what is happening. I think that all sides can agree that we’re in deep doo doo. My art may not help make sense of it, or offer solutions, but it exposes the elephant in the room.

2 years ago, when I posted scenes from the Wee Folk Players series on my blog and Facebook, there was a lot of reaction, both positive and negative. One person was so mad that I was making fun of the president, they threw my books in the recycling. Another told me that I’d ruined her hobby. My favorite was from someone who said I was not qualified to have a political opinion. But for every criticism, came many, many more saying things like, “You go, girl!” and “You made me laugh so hard, I peed in my pants.”

My fans have come to rely on my art as a safe haven from the viciousness of the world. I don’t blame them for wanting to stay in the land of innocence. My dolls may be revealing a darker political reality, but you’ve got to admit, they’re still adorable. I just don’t do ugly or grotesque. For me, it’s about finding the sweet spot, even in the scary places we don’t want to go.

People wonder how I can speak out this way, considering the potential for backlash. I can take a risk, because at this stage in my life, I don’t need the approval of others in the same way that I used to, nor am I invested in a certain outcome. I realize that this is a luxury that many people do not have. And that adds to my sense of urgency. I feel a responsibility to document and reflect what I see happening around us and to bear witness, like artists have always done.

I’ve learned that my art helps people process what is going on at a deep and emotional level. What started as my own outlet for managing the barrage of news, has turned into a way for others to experience their own catharsis. Someone recently wrote to tell me, that after seeing this show, she burst into tears, realizing that my art helped her deal with her distress and dismay over the state of the country. She said that she felt uplifted for the first time in three years. When I hear this kind of reaction, I know it’s been worth it.

Having my work deemed too divisive and labeled as controversial has led to a chain of events that brought it to the attention of many more people. The episode has opened up conversations within our community about the purpose of art, which isn’t exactly an everyday topic of discussion. And I can’t help thinking that it has revealed an undercurrent of fear that we all have. Fear of upsetting people, fear of other points of view, fear of losing a way of life and most of all, fear of what is happening to our country. This experience has taught me that art can be a powerful way to face fear. It can be seductive, unsettling, stunning and confronting, which spark conversations about what it means to be living in this beautiful and terrifying world.

I have worked hard to get to where I am and this latest chapter is the strongest and most satisfying so far. Stretching myself artistically makes me realize that I am not what I thought I was. I am transformed, and everything I make from now on, whether it’s political or not, will be influenced in some way, by this adventure into forbidden territory.

What I make and how I do it didn’t just come out of the blue. It’s been a slow and steady process, from early childhood to today. I come from a long line of quiet, but determined people. My late parents, Mary and Jim Mavor were my role models. They created an environment where art mattered, a lot. It was not an extra. Dancing, playing music and making art was our family’s way of feeling human and connected to our Woods Hole community. My mother was an artist and business woman who left me with the belief that making art is the reason to get up in the morning. My father was an engineer with a visionary streak, who followed his ideas, no matter how esoteric. I am grateful to my family, including my husband Rob, for helping clear a path and never standing in the way, as I pursue my passion.

Before I continue, I want to squelch a rumor. Some people have been overheard saying that I must use a sewing machine. That is not true. OK, I use one to make clothes and pot holders and that kind of thing, but my artwork is all stitched by hand. Period. Even in this day and age, machines just can’t do what I do. Now that that’s cleared up, let’s move on to “Once Upon a Thread.”

At this point, I spent 45 minutes going through my whole life up until now with photos and commentary, showing work and talking about the experiences that helped form who I am as an artist.

In the section about making our animated film, I showed the following time lapse.

With the slide below projected on the screen I said, “I will end by showing you what my work table looks like now. You can be assured that its surface will never be completely clear of thread. At a time when most of my friends are retiring, I’m just gearing up. For as long as I can, I will keep making art that reflects both the lightness and the darkness of the world, in my quiet, but determined way.”

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bed book peek : bunny

How could I resist posting a little cottontail bunny at this time of year? It will be used as a spot illustration in my upcoming children’s book, My Bed: Celebrating Children’s Beds Around the World, which will be published in 2020. Other animals in the series that I’ve written about so far are elephant and goldfish, parrot and sheep, rooster, cat, duck and camel.

As usual, I started by researching pictures of bunnies and then making sketches to work from. I formed an outline of the animal shape in pipe cleaners and wrapped the legs. The wrapping is basically the same technique that I teach for the dolls in my how-to book, Felt Wee Folk.

The hind leg haunches are made separately. I covered the front side with wool felt and crisscrossed the back with stitches to keep it taut like a drum.

Then, I covered the body with a felt piece. I must have covered the top portion of the front leg with another small piece of felt, but I can’t remember. Each time I make something, I try different ways to do it in a non-linear fashion. That’s why it’s hard to explain the process in a step-by-step manner.

Some people think I “needle felted” the body, but I didn’t. That’s a different process that involves poking wool fleece fibers with a barbed needle. I use flat pieces of wool felt that are cut out and sewn in place. It’s fussy, but it works for me. I admit to not really enjoying the repeated jabbing motion of needle felting and would rather put my energy and focus into embroidery.

The bunny’s head was made from pieces of felt, including the ears. The eye is a seed bead inserted in a cut out hole. The ears are edged with wire, to give them stability and flexibility. Details are stitched with embroidery floss.

The area between the head and body looks seamless, but there are hidden stitches underneath. They are covered with felt fibers, which I coax and smooth over the seam with a needle. That’s the closest I get to needle felting.

Then I covered the body with little embroidery floss stitches. The hind leg was attached next and the cotton tail was last. Happy Easter!

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The stitching lady speaks!

Thank you to all of you who’ve already made the trek to see my show, Liberty and Justice, at the Cotuit Center for the Arts . If you haven’t been yet, there are just 2 more weeks to get yourself over there! They report great traffic, with many smiling faces seen on folks coming from the Upper Gallery. To read a review of the show from the Falmouth Enterprise, click here.

You are invited to come hear my talk on Sat., April 13th at 11 AM. I will give a peek behind the scenes at my working process (including making the film) and share what it’s like to shift from safe and secure subject matter to political art.

Liberty and Justice: The Sweet to Satirical Art of Salley Mavor 
Cotuit Center for the Arts, Cotuit, Massachusetts
March 2 – April 20, 2019
Artist Talk – “Sweet to Satirical”, Sat., April 13, 2019 at 11 AM

The exhibit will be in Cotuit until April 20th and then a portion (including the film) will go to Kennebunk, ME for The Art of Cute exhibit at the Brick Store Museum (May 1 – Aug. 31, 2019).


I’d also like to remind you that 4 large bas-relief embroidered pieces (Including Displaced, below) are in the Migration exhibit for 2 more weeks.

MIGRATION
Imago Foundation for the Arts, Warren, Rhode Island
March 14 – April 20, 2019 – 
Show Dates
IMAGO Gallery is located at 36 Market Street, Warren, RI 02885 – 401 245 3348 – Open Thurs 4 – 8; Fri and Sat 12 – 8; Sun 11 – 3 and by appointment. 

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/orInstagram.

Liberty and Justice exhibit in Cotuit

Last September, when my Liberty and Justice exhibit was cancelled at a local venue, due to its political content, 2 arts organizations immediately came to the rescue. The New England Quilt Museum quickly rearranged their exhibition space to accommodate an expanded version of the original concept, which they showed for 3 months last fall. It was their idea to add a section of my earlier work, which my husband Rob labeled “The Innocent Years”. Now, the Cotuit Center for the Arts on Cape Cod is hosting Liberty and Justice: The Sweet to Satirical Art of Salley Mavor until April 20.

To read a review of the show from the Falmouth Enterprise, click here.

The Cotuit Center reports great traffic, with many smiling faces seen on folks coming from the Upper Gallery. They’ve also received applause for their willingness to host the show. A friend told me that she surprised and embarrassed herself by continually laughing out loud, while perusing the exhibit. It’s nice to hear this, because that’s how I imagined the response would be, way back when I first began planning the exhibit. The show has also triggered an emotional release in some viewers, like this woman who wrote to tell me, “I’m uplifted for the first time in three years. I burst into tears last night and realized your art helped me deal with my distress and dismay.”

A friend passed on this comment she received from an acquaintance named Zoe, who went to see the show on her recommendation – “The Mavor exhibit was so perfect and captivating! I’m so interested in the moment where she must have realized that her medium was perfect for what she wanted to say.” She and everyone else can find out on April 13th at 11 AM, when I give my Artist Talk.

For the Cotuit show, I’ve added more framed cartoons and early pieces, and I’ve set up 2 display cases with scenery and props used in the filming of the movie.
The exhibit includes the following:
18 enlarged photographs from the Wee Folk Players series of satirical cartoons (including the doll house set), 13 minute stop-motion animated film – Liberty and Justice: A Cautionary Tale in the Land of the Free, Displays of 3-dimensional characters, props and scenery from the animated film, A collection of earlier work from “the innocent years” – embroidered bas-relief pieces, children’s book illustrations, Self Portrait: A Personal History of Fashion , Rabbitat and Birds of Beebe Woods.

Liberty and Justice: The Sweet to Satirical Art of Salley Mavor
Cotuit Center for the Arts, Cotuit, Massachusetts
March 2 – April 20, 2019
Artist Talk – “Sweet to Satirical”, Sat., April 13, 2019 at 11:00 AM

The exhibit is an opportunity to see a wide array of works by fiber artist and illustrator, Salley Mavor, who has recently added political satire to her repertoire. She uses small dolls as a metaphor for living in a safe controlled environment that has been taken over by outside political forces. The exhibit features a collection of photographs of scenes she created in a doll house and a stop-motion animated film, which satirize the Trump administration. The original dolls and props used in the film will also be on display. Although Ms. Mavor’s foray into political art is the centerpiece of the show, the exhibition also includes original embroidered children’s book illustrations and other artwork from earlier in her 40-year career. The inclusion of these pieces tracks the evolution of her artistic journey from “innocence” to tackling real world issues.

The exhibit is located upstairs, with the wall facing the balcony dedicated to the sweet section of the show. By far, the favorite in this group is Self Portrait: A Personal History of Fashion , which a lot of people can relate to.

The politically satirical portion is shown in 2 side spaces. One has the Liberty and Justice film and display cases full of the real dolls, props and scenery used in the film-making process. The other side has the photographic “cartoons” and the doll-house stage set.

For the show, I matted and framed 18 enlarged photographs of the Wee Folk Players cartoons, which were produced in the first 6 months after the election.

Michelle Law, the center’s gallery manager, was incredibly helpful and a delight to work with during the installation.

The doll house, which I made in art school over 40 years ago is also on display. It served as a stage for the Wee Folk Players in many of the scenarios we photographed.

I hope that those of you who live within a manageable distance of Cape Cod can make a trip to see the show, which runs until April 20 at the Cotuit Center for the Arts, Cotuit, Massachusetts. I will give a talk about the evolution of my art from “Sweet to Satirical” on Sat., April 13th at 11 AM.

Next, a portion of this exhibit will be included in The Art of Cute, which takes a serious look at a powerful aesthetic that is often not taken seriously. Some of my topical and political work will be displayed in the Meta Cute or “beyond” cute category. This part of the exhibit explores how cute, combined with other aesthetics, can create meaningful art that is ironic, disturbing, political, joyous humorous and provocative.
THE ART OF CUTE 
Brick Store Museum, Kennebunk, Maine
May 1- August 31, 2019
Curated and produced by the Illustration Institute

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram.

Migration exhibit

Friday night was the opening reception for MIGRATION at the Imago Gallery in Warren RI. The curated exhibit includes a wide array of art on the subject of migration, refugees and displaced peoples. The amazing sculptor, Harriet Diamond and I are the featured artists in the show. I really enjoyed meeting her and look forward to our gallery talk on Sunday, March 24 at 1:00 PM. Harriet and I will begin with short visual presentations about our art and then we’ll have a conversation with each other and the audience. The show will be up until April 20th, so I hope that those of you from Rhode Island and southern Massachusetts can get over there to see it. IMAGO Gallery hours: Thursday 4-8 | Friday and Saturday 12-8 | Sunday 11-3

Harriet and I chatted about the many facets of our art that we share – we both make sculpture, use small doll-like figures, present narratives that tell the human story and portray a range of social scenarios from the everyday to topical subjects. Please scroll down to see photos of her powerful and ambitious project. Four of my bas-relief embroidered pieces are on display: Face Time, Cover Up, Whiskers and Displaced.

Artist Harriet Diamond’s work “Driven From Their Homes,” is a hybrid installation sculpture and illusionistic scene that chronicles the horrors of the Syrian War and diaspora. As Diamond notes, the work “depicts an episodic journey of refugee people fleeing from the terrible destruction of their home city” to an unknown future.  Each figure struggles to cope, to grieve, to endure.  “It is a dark scene, but it’s also roiling with life.”  Because of the size and scope of this piece, viewers will be surrounded by the scenes as they unfold.  All human emotions, from fear to desolation, from courage to heroism, are etched in the faces of these victims of war.  It is the artist’s fervent hope that by telling this story the “terrible truth of war” will become “more present and real to us.”

I am blown away by the power of “Driven From Their Home”. There is so much to take in. The figures are constructed of clay and the building structures are styrofoam slabs painted to look like concrete. She has set up this installation in several locations, piecing together the many parts like a puzzle.

If you make the trip to see the show, please know that there’s a great little eatery next door – Eli’s Kitchen. Here are the dates of the show and talk:

MIGRATION
Imago Foundation for the Arts, Warren, Rhode Island
March 14 – April 20, 2019 –
Show Dates
Sunday, March 24 @ 1:00 PM – Artist Talk with featured artists Harriet Diamond and Salley Mavor.
IMAGO Gallery is located at 36 Market Street, Warren, RI 02885 – 401 245 3348 – Open Thurs 4 – 8; Fri and Sat 12 – 8; Sun 11 – 3 and by appointment.

To see my current schedule of exhibits and talks, click here.

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram

3 upcoming exhibits

Displaced

This spring, there will be three opportunities to see my work up close and personal in New England. I wish all of you could see the real thing in 3D, because it’s a totally different experience than looking at photos online or in books. With that in mind, inquiries from curators and venues in other parts of the country are always welcome! (Contact me here.)

For these three shows, I was specifically invited to exhibit my new topical and political work. That feels affirming, since breaking out of my comfort zone to tackle real world issues has been unsettling at times. And I’m excited that my work is being recognized outside of the fiber art world. I think that in order for fiber art to be taken seriously in the larger art world, it needs to hold its own when viewed side-by-side with other kinds of art. Opportunities to do this are limited, so I’m thankful for the chance to exhibit my work along with a variety of mediums, sometimes as the only fiber artist. That is also the case in the illustration world, where the majority are painters or computer artists. In this broader context, I am viewed as a visual communicator who just happens to use a needle and thread to say something. But one can’t ignore the unique visceral connection to techniques and materials that fiber art offers. I know that stitching is an integral part of my experience of making art, as well as how others perceive it. How one makes art is an important part of the symbiotic relationship between message and medium. In a simple sense, the creative process comes down to individual marks or gestures that add up to something whole, whether it be with brush strokes, body moves, musical notes, typed letters or stitches.


Self Portrait: A Personal History of Fashion

THE EXHIBITS
Liberty and Justice; The Sweet to Satirical Art of Salley Mavor is moving back home to Cape Cod after its successful run at the New England Quilt Museum. My work will also be shown in two curated thematic exhibits – Migration in Warren, RI and The Art of Cute in Kennebunk, ME.

The amazing sculptor, Harriet Diamond and I are featured artists in Migration, a show about migration, refugees and displaced peoples. The Art of Cute takes a serious look at a powerful aesthetic that is often not taken seriously. My works will be examples of how how cute, combined with other aesthetics, can create meaningful art that is ironic, disturbing, political, joyous, humorous and provocative.


LIBERTY and JUSTICE:
The Sweet to Satirical Art of Salley Mavor

Props and characters from “Liberty and Justice” animation

Liberty and Justice: The Sweet to Satirical Art of Salley Mavor
Cotuit Center for the Arts, Cotuit, Massachusetts
March 2 – April 20, 2019, Opening Reception – Mar. 2, 5 – 7 PM
Artist Talk – “Sweet to Satirical”, Sat., April 13, 2019 at 11:00 AM

The exhibit is an opportunity to see a wide array of works by fiber artist and illustrator, Salley Mavor, who has recently added political satire to her repertoire. She uses small dolls as a metaphor for living in a safe controlled environment that has been taken over by outside political forces. The exhibit features a collection of photographs of scenes she created in a doll house and a stop-motion animated film, which satirize the Trump administration. The original dolls and props used in the film will also be on display. Although Ms. Mavor’s foray into political art is the centerpiece of the show, the exhibition also includes original embroidered children’s book illustrations and other artwork from earlier in her 40-year career. The inclusion of these pieces tracks the evolution of her artistic journey from “innocence” to tackling real world issues.

The exhibit will include the following:
18 enlarged photographs from the Wee Folk Players series of satirical cartoons (including the doll house set), 13 minute stop-motion animated film – Liberty and Justice: A Cautionary Tale in the Land of the Free, Display of 3-dimensional characters, props and scenery from the animated film, A collection of earlier work from “the innocent years” – children’s book illustrations, Self Portrait: A Personal History of Fashion , Rabbitat and Birds of Beebe Woods.


MIGRATION

Cover Up

MIGRATION
Imago Foundation for the Arts, Warren, Rhode Island
March 14 – April 21, 2019 –
Show Dates
Friday, March 15th @ 6:00 PM – Opening Reception
Sunday, March 24 @ 1:00 PM – Artist Talk with featured artists Harriet Diamond and Salley Mavor.

Sculptor Harriet Diamond and Salley Mavor are the featured artists in this group exhibit about migration, refugees and displaced peoples. Four of Mavor’s bas-relief embroidered pieces will be on display – DisplacedWhiskersCover Up and Face Time.

Whiskers

THE ART OF CUTE

Fireside Tweet

THE ART OF CUTE
Brickstore Museum, Kennebunk, Maine
May 1- August 31, 2019
Curated and produced by the Illustration Institute

The Art Of Cute takes a serious look at a powerful aesthetic that is often not taken seriously. The exhibit is organized into three sections: Normative Cute, Applied Cute and Meta Cute and will explore why we are drawn to that which is cute and how its impact is felt in life, in design and in art.

A selection of Salley Mavor’s topical and political work will be displayed in the Meta Cute or “beyond” cute category. This part of the exhibit explores how cute, combined with other aesthetics, can create meaningful art that is ironic, disturbing, political, joyous humorous and provocative.

Still from “Liberty and Justice” animation
Displaced

To keep up with new posts, please subscribe to this blog (top right column on the home page). Your contact info will not be sold or shared. If you’d like to see more frequent photos tracking the projects in my studio, please follow me on Facebook and/or Instagram