I always have a vision that I am going to do more writing in a given year than I wind up doing – best laid plans… But it has been a busy and fruitful period in so many other ways. Here are highlights from this last quarter of the year, starting with my natural dye workshop which finally happened in September!
I participated again this year in annual Hambidge Auction. I am grateful for the space the Center provides for artists/creators at all stages of their careers to meet, make and/or meander and contemplate. Perhaps one day I will make it there as a resident myself! Meanwhile, the work continues in my own humble studio. See more about 3-D and Stitched Modules. Images L to R: “Receptive 4” plus 2 tannin/indigo/ferrous stitched modules; last: another tannin module with a recently completed piece from the “Receptive” Series.
The work continues as this facet of my art/design practice enters its next phase. Visit the Petal Website to see more of this work, including the latest pieces created with wax-resist cloth which I produced this past Spring/Summer.
As an artist/designer/craftsperson, I rarely felt alienated from my work during Pandemic 1.0, although the work and focus have certainly changed. Fortunately, inspiration abounds and I continue to make, if only for myself(!). We can all probably attest to the the foundation not feeling as steady as it did before – not quite back to “normal”…and sometimes, we may feel we (collectively) are regressing…. but we press on. And so it goes in my world. Here’s what’s been happening (at least some of it) and what’s on the horizon.
The third piece in my natural dye series revolves around printing/mark-making (specifically on cloth) with thickened natural dyes. 9/18-19/21, SEFAA Center, Atlanta, Georgia. Learn more.
Much of my decorative and fine art work is created with naturally dyed cloth, including emerging 3-dimensional work and hand-stitched, applique layered modules. This work continues. See more about 3-D and Stitched Modules.
My “artisan apparel” line, Petal-Una Collection continues, for now. This container for my wearable work is now entering its 10th year! From this point forward, I’ll be celebrating its unfolding as I continue to create a limited number of RTW and custom hand-dyed/painted/printed wearable pieces. Look for changes in the coming year as this part of my practice enters its next phase. Visit the Petal Website to see more.
February already! It’s always a month that seems to slip away before it has barely begun! Here is a recap of the past month’s activities and musings:
My readers are hopefully now familiar with my “light” artisan wearable collection,petal-una(www.petalunacollection.com). I have been working on these seasonal collections since 2012 and the upcoming Spring/Summer 2016 group builds on this foundation. My desire throughout the design/build process is always to further my understanding of cloth, form, fit and finish as well as to successfully present my completed work at market. Until now, I have generally approached the collection from the textile, rather than the garment, per se. But things are shifting. For a number of reasons, my textile/fiber artist-self is beginning to catch up with my landscape-designer-self.*
As my creative selves become more fully integrated, the petal-una collections become more integrated, conscious acts of art and design. That means I am taking into account cloth, surface and garment while also holding a variety of production variables in mind like time and cost, work-flow, utility use, marketing (including, but not limited, to social media activities), and a host of other allied considerations. All of these undertakings figure into each piece created in the studio. And, since I am still very much a solo operation for the time being (and there is only so much this body/mind can make manifest in a given calendar year), it is vital that I work as efficiently as possible from concept/design to development, production and completion, without losing sight of my mental and physical well-being. This is particularly important since I still want to make room for art-making! If you would like to see more day-to-day snapshots, please follow me on Instagram! (www.instagram.com/kathycoltartisan).
The fact that I am finding the time and energy I require to undertake all of my creative work is in no small part attributable to coach/consultant/project manager-extraordinaire, Mary Quinn Templeton(www.maryquinntempleton.com / firstname.lastname@example.org). Mary Quinn and I met as fellow fiber/textile artists. At that time, I was at a turning point in my work, not sure what I wanted or where I wanted to go. Since we started working together, the path has begun to clear and my foot-steps are more deliberate. (If this sounds like a testimonial…it is!!) Obviously we are all responsible for making our own “it” happen, but we also don’t live in a vacuum – fresh insight can be liberating – I highly recommend it!
In the process of getting my work back on track, other beautiful gifts have been bestowed:
A Rekindling of Deep Joy. Somewhere along the way, and for a variety of reasons, I started to lose touch with the sheer joy of making. I am now remembering and reconnecting with the reasons why I choose to do what I do in all of its multi-disciplinary, multi-hat-wearing complexity and glory. Bring it on!
Befriending and Embracing Fear. Letting go of judgment and anxiety about myself and my work, the future (and anything else falling into the “monkey-mind” category) is huge (and I don’t think I am alone here!). Radical acceptance of the what, where, when and how of it all, the now of it all, and just getting on with it all, has opened up new and previously unimaginable pathways. After all of these years, I can finally get busy living and doing the Work, and be at peace with that!
Restoring the mental/emotional power grid: Taking responsibility for how I react to all phenomena and circumstances in my life is an on-going process, taken one experience at a time. It’s not always easy, but cultivating equanimity makes for a clearer mind and greater capacity in one’s creative and life work. Why not make more room for that, right?
I am constantly reminded that being a working artist is not for the faint-hearted. Luckily I was blissfully ignorant of the pitfalls or I would not have taken the first step. Well into the journey now, I realize I do it because I must; however, it takes a lot of heart, soul, metaphoric blood, and a lot of sweat, persistence and constant insistence on a daily basis. The day-to-day experience moves back and forth along the continuum: sometimes the process is uneffing-believable in its rich, diverse upwellings; sometimes it is incredibly physically exhausting and/or highly anxiety-provoking to an intensity which weakens creative flow and output. Somewhere in the middle is the Balance, and in that space is the “zone”. After all of these years of designing and making, I recognize a cultivated ability to access the “zone” with greater ease, and finally feel capable of efficiently managing my time, energy and finances to manifest my creative/life vision. Next level? Yes, please!
*footnote: I also think that I have been resisting the idea of myself as a “fashion” designer. However, I am a designer and I certainly work in the fashion idiom from time to time, so maybe it’s time for me to embrace my inner-fashionista more fully!
I have been doing a lot of sewing lately – making garments for my clothing collection, petal-una. (Scroll down for images of some pieces from the new Spring collection). I started this limited edition and one-of-a-kind collection as a counterpoint to felting. I also wanted an opportunity to learn new skills and develop possible wearable formats for my felted cloth. Alas, sewing has never been one of my favorite tasks but the scale of my enterprise makes hiring someone impractical. As it turns out, it has been an eye-opener for me on a variety of levels.
As I construct these garments, it occurs to me how remote the act of clothing construction is from my mind when I slip into my clothes each day. In spite of my understanding of the skill required to design, engineer and assemble clothing, I acknowledge taking this basic facet of living wholly for granted. Anyone who spends time and energy making their own clothing will recognize the investment made in each article, whether it is mass produced or a one-off piece. Creating the petal-una collection myself raises my awareness considerably. After putting together even a modest body of work such as this, I can only say that garment worker/sewing professionals of the world are unsung heroes! This is particularly the case given the fact that many apparel manufacturing factories throughout the world reflect 19th century industrial standards and practices a 21st century post-industrial/Western worker would not tolerate.
There was a time when sewing was a common ingredient in most households (long before the mechanical-electric, let alone the electronic sewing machine). My great-grandmother made household accessories and most of the clothing she and her children wore. As far as I can tell from existing photographs, the clothing she created was stylish and sophisticated for the era. As I grew up, I observed my mother doing the same thing for economy and pleasure. With the apparent patience of Job, she plunged into twin outfits, costumes, and other miscellany for my sister and I, as well as clothing for herself. Long before sergers were available, I recall her skillfully assembling and smartly wearing slim-fitting, knit dresses inspired by Diane von Furstenberg’s high-fashion line.
When I was old enough to navigate the machine, I was given basic sewing instruction. I did manage to complete some projects. Unfortunately, though, I have little memory of anything but suffering at the machine, and my impatience resulted in many a frustrating session which usually ended in my mother bailing me out and completing the most tedious aspects of a given project. Of course, I did later figure things out on my own. I took a home-economics class in high school (do they still offer those anymore?) and made tailored clothing which actually fit and which I wore proudly. However, I was attracted to the idea of fashion but not creating it for myself – it was cheaper and easier to buy something when need arose and since I was typically wearing jeans and t-shirts when I wasn’t in my school uniform, there was little motivation to sew. As time passed and I left home, except for the occasional curtain, my sewing career ended…that is, until I started “enriching” fabric and needed a way to give it 3-dimensional life. Given my checkered history with sewing, it is a bit ironic that I assemble my own modest designs today. Nevertheless, sewing is now an integral part of my creative process and I am learning to enjoy it more an more…really!
Racerback Tee, Narrow Scarf and Market Skirt
Hand-dyed, Hand printed Racerback Tee
Tee and Cropped Jacket
Racerback Dress & Cropped Jacket
Knit Racerback Dress & Cropped Jacket, hand-dyed, hand printed