Last Friday was the opening party for Twisted, Twined and Woven: Contemporary Fiber Art at the Cahoon Museum of American Art, which is located in Cotuit, Massachsetts. The exhibit will be there until Dec. 22. On display are four of my fabric relief pieces (Whiskers, Cover Up, Face Time and Displaced) and the work of Jodi Colella, Jacqueline Davidson, Anna Kristina Goransson, Sarah Haskell, Andy Mauery, Diane Savona and Elizabeth Whyte Schulze.
It was fun to see old friends and meet new people in the museum’s beautiful new gallery. The space was added on to the Colonial Georgian home (c.1775) that constitutes the original part of the museum. By early 1800’s, the building was operating as a tavern, an important overnight stop on the Cape Cod stagecoach line between Sandwich and Hyannis. I love how the new addition creates more opportunities for showing art, while maintaining and complimenting the historic parts of the museum.
The exhibit is as diverse as fiber art is and includes framed works as well as hanging installations and large scale, free-standing sculpture. Jodi Collella’s extraordinary scorpion made of vintage lace doilies dyed black is the dramatic centerpiece of the show. When the museum director and curator, Sarah Johnson, asked for recommendations of other artists for the show, I told her about the incomparable Diane Savona. As expected, her piece, Security Blanket is powerful and moving. Other pieces on display are Anna Kristina Goransson‘s vibrant felted work, Sarah Haskell‘s framed embroidered houses and baskets by Elizabeth Whyte Schulze.
The following pieces of mine are included in the exhibit – Displaced, Cover Up, Face Time and Whiskers. As with all of my work, including illustrations that are reproduced in children’s books, seeing the originals is a different experience than looking at photographs. If you can make the trip to Cape Cod, I encourage you to come and see for yourself.
I am happy to announce that the Cahoon Museum will be hosting the premiere exhibit of original illustrations for my new picture book, MY BED: Where Children Sleep Around the World. The exhibit will be coordinated with the book’s publication by Houghton Mifflin Harcourt in the fall of 2020. Like the traveling show for Pocketful of Posies, I hope to schedule other exhibits, so that more people can see the “real thing”. Interested museums and art centers are welcome to contact me for information about hosting an exhibit. It would be wonderful to have the illustrations make their way across the whole country!
All winter long, while I sat and worked on this piece, I listened to news stories on the radio about people who are fleeing their home countries amid war and conflict. Even though Displaced is inspired by recent world events, it could very well represent the universal and timeless plight of refugees throughout history. When forming an idea, I often think in terms of creating miniature shallow stage sets and with this one, I envisioned a melodramatic scene full of foreboding as well as hopeful anticipation. The trail of heavily burdened figures are like an operatic chorus, winding its way upward through a threatening landscape. To help create tension in the design, I thought of opposite forces, such as dark/light, despair/hope, trapped/escape, harsh/tender, sharp/soft and horror/beauty.
COVER UP is a collective portrait of women from around the world, each with a head covering that reflects the conventions of a particular place, social class or time in history. The 45 depictions invite comparison, pointing out contrasts and similarities between different societies. They all wear some kind of scarf, head piece or mask that serve as identifying markers, whether they are forms of self-expression and fashion, or dictated by religious and cultural tradition.
FACE TIME is a broad interpretation of a family tree, showing the faces of humanity through time, from early in history to today. The 41 individuals represent a variety of peoples and cultures throughout the world, all connected through branches of the center tree.
WHISKERS focuses on beards and mustaches, showing an array of male characters from different cultures and historic periods. The piece explores diverse societies and their origins, using needle and thread to signify the unraveling and mending of human cultures throughout history. The large face and beard that contains the various heads is inspired by Assyrian sculpture.
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