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Yearlong Environmental Stitching Project

Celebrating Earth Month with the Yearlong Environmental Stitching Project!

Stitching - beginning the Yearlong Environmental Stitching Project
First day’s work on the Yearlong Environmental Stitching Project. January 1, 2023.

As many know, a main focus in my artwork, particularly hooking, is to bring attention to the state of our shared environment. Globally, locally too, it’s not in great shape. Between crazy-ass storms, drought, rising temperatures, air and water pollution, too much trash and waste, etc., etc., we’re suffocating ourselves and other forms of life here on earth. (Though I understand that cockroaches and kudzu are still doing quite well.)

If you’re reading this, I won’t bother preaching to the choir. You’re already aware of the problems. And you’ve probably heard me pontificate or at least share various posts on my social media. A note, my initial career was in environmental regulatory management for industry. I’ve had plenty of time to think about what we put in and on this planet of ours.

Honey bee - Yearlong Environmental Stitching Project
On January 14 I stitched about how the US Department of Agriculture approved the first ever vaccine to prevent the bacterial disease that destroys honey bee colonies. This is GOOD NEWS!

 

More than wool, I create hooked art using different types of old textiles that I find in Savers (my local thrift store) and am gifted. They can include old t-shirts and other clothing, curtains and bedsheets, and so on. It makes me feel good to tell people what the art they’re fondling is made of. Kids especially love to see and touch recycled t-shirt rugs.

 

In 2020, I spent the WHOLE YEAR hooking and stitching the Ribbon Rug Journal (RRJ). Not familiar with it? You can read about it HERE. Given the nature of 2020, I had plenty of time to sit down every single night to log in that day’s entry. Still I was psyched that I made it to December 31. And really ready to move on from the project given the time and energy it took. It’s since been the subject of an article I wrote for Rug Hooking Magazine and hung in two exhibits.

Fast forward to late 2022. Surprisingly, I was itching for another yearlong endeavor, preferably something with meaning from the get-go. (When I started the RRJ, I had no idea that 2020 would be the “special” year that it became.) I wasn’t looking to hook something every day; that’s what my regular projects are for. Besides, Tom begged me not to have to work on something every night. So, I pondered…

Brown widow spider - Yearlong Environmental Stitching Project
On March 13, I started the Brown Widow Spider after reading about how the aggressive Browns are “slaughtering” the more docile Blacks (spiders!) in the US Southwest and South. Then they eat them! Meanwhile the Black Widows are expanding their range northward, even into Ontario and Quebec.

Meanwhile, like most everyone else, during 2020 and 2021, I took online classes and became more interested specifically in hand-stitching. In fact, I incorporated stitching into the RRJ because some things, like letters, were easier to do on the burlap ribbon than hooking. I made a Kawandi quilt and was pretty proud of myself. I also did more sketching with the likes of Sketchbook Revival.

 

I’m not interested in fine drawing or fussy embroidery, but something more basic. To share a thought, make a memory, the stuff of journaling.

Last year too, while on a hunting trip to Savers, I came across a large, linen curtain panel from Ikea. It’s a beautiful, pale green. Come the end of the year, it was just sitting there, waiting for me to formulate an idea. Which I finally did. The color is a great earth color. And I kept seeing and reading more and more environmental stories. Ah ha! I decided on the Yearlong Environmental Stitching Project (YESP): I’d stitch using an environmental theme throughout 2023.

Safety was derailed along with the train in Palestine, Ohio, in February.
After the Norfolk Southern train derailed in Ohio in February, we learned more about how the last administration dismantled railroad safety rules. as the railroads requested. This accident and subsequent environmental and health disaster didn’t have to happen.

 

I’m still not enthused by the title so that might change. And to avoid burnout – my own and the husband’s – I don’t work on it every day. In fact, throughout Sketchbook Revival 2023, the whole thing has sat on the dining room table. Really, it could also be a tablecloth; it’s big enough! As I scan the newspaper and news online each day, I collect stories. Some are pretty horrific, I’m not going to lie. Like the recent report from the UN about humanity’s closing window of opportunity to affect climate change, that our current investment and funding for adaptation to that change are completely insufficient, especially in and for developing countries. Never mind that the US electrical grid is heading for a total meltdown. But there’s good news too. Biden created two new national monuments here in the Southwest. Then there’s the woman in Britain who got so fed up with her town’s lack of recycling that she decoded to take care of it herself. And all kinds of folks joined her. I need those kinds of stories; otherwise the whole project would depress the crap out of me.

I keep all the stories in a file folder and pull one out when I’m ready for a new entry. Having learned from the RRJ, once I finish a stitching, I record it and pertinent info in a written journal. I photograph it too. That way, in January, I won’t wonder what the hell I stitched. Also, the only thing I can purchase for this project is embroidery floss. Everything else has to come from what I already have or am given.

While this won’t be quite as entertaining as the nightly RRJ postings were, I hope that you join me on this yearlong journey. Hey, it’s less than nine months now. Somehow busy-ness and my own winter inertia kept me from getting this all written up, though I have been posting on my Instagram and Facebook accounts all along. Sadly, it’s a constant fight against the cult of busy-ness in this culture. Even when your kids have left home and you don’t have a regular paying job. Also my ability to multitask isn’t as honed as it used to be. (Thank goodness!)

 

Toadzilla - Yearlong Environmental Stitching Project
Toadzilla, the fierce, burly Cane toad from Australia. He was 6 pounds, the biggest Cane toad ever found! I’ll let you Google him to see why he was in the news in mid-February. This is his outline. I still haven’t finished filling him in. It’s a good lesson to me to sketch more, color and detail less.

 

How do you cope with climate change and all that the environment’s throwing at us these days? Any good plans for Earth Day?

 

 

 

 

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The Art of Motherhood

We’re all affected in some way by motherhood…

Book cover: The Art of Motherhood: Our Lives in Colour and Shadow

I know I’m late to the party congratulating Karen Miller of Ontario on the release of her new book The  Art of Mothering: Our Lives in Colour and Shadow, but I will NOT be the last, I guarantee you.

Karen’s book, published by Rug Hooking Magazine, came out in October. I think I received my copy in early November. Unfortunately, I’ve been très busy the past month, so I’ve only been able to scan through it thus far, but with the holidays almost here, I’m hoping to sit down soon and pore over it – no interruptions!

It’s a beautiful book, certainly, filled with all kinds of art. It’s vivid and colorful as it shines a light on how female artists have dealt with not just the topic of motherhood, but its actuality.

From the back cover:

Motherhood has been the richest experience of Karen Miller’s life. It has also inescapably changed her life trajectory: her career path, her energy levels, her commitments, her time, her marriage. It has affected everything. Join Karen as she and 21 contributing artists lift the lid on motherhood and peer inside to examine the reality of their lives through textile arts.

The Art of Motherhood: Our Lives in Colour and Shadow illuminates the feelings that so few of us talk about – but so many of us feel – as we navigate the journey that is motherhood.

Hooked art
“Rejection,” 14′ x 17.5″, hooked on monk’s cloth with wool strips and yarn, is one of my pieces in Karen’s book.

Karen’s known for a long time that being a mother hasn’t always been the best of experiences for me, so when she asked me to contribute to the book, I jumped at the chance. It’s always stuck up my craw sideways that women rarely feel comfortable being honest about motherhood and what it does to us.  Even in a group of just women! How dare we speak up about not feeling quite like the Madonna and her perfect Child. News flash: I’m no Madonna and it took a lot of alcohol to get through my only kid’s high school years. (Those years made the previous 14 look like an f-ing picnic.) But after fertility problems and two miscarriages over two years, no one wanted a kid as much as I did. And I have no regrets. (Most of the time.)

Hooked art
“Holes,” 68″ x 33″, hooked on monk’s cloth with recycled textiles and silk sari ribbon. I’ve talked about this piece before.

That’s the kind of candid crap you’ll find in this book though in a much more eloquent form, LOL. And LOTS OF FIBER ART, hooked and otherwise. If you’re a mom or know a mom or ever had a mom, get thee online to order this book. It’d make a kick-ass and thoughtful Christmas or other type of gift. I promise. You can order from RHM HERE. If you’re in Canada, contact Karen through her website.

PS- Not all moms are biologic. And mother figures count as moms.

FYI-
Below is a list of the Instagram handles of all the artists who, in some way affected by motherhood, contributed work to Karen’s truly excellent book. Check out their work.

Karen Miller:  @karendmillerstudio
Nadine Flagel:  @pretextstudio
Meryl Cook:  @merylcook
Laura Salamy:  @highonhooking
Emily van Lidth de Jeude:  @emilyvanartist
Jane Smith:  @blogginthebay
April Deconick:  @aprildeconickart
Linda Friedman Schmidt:  @lindafriedmanschmidt
Rachelle Leblanc:  @rachelle_leblanc_art
Trish Johnson:  @trshjhnsn
Patti Colen:  @woollycronedesigns
Alexandrya Eaton:  @alexandryaeaton
Michelle Kingdom:  @michelle.kingdom
Carmen Bohn:  @carmenbohn_art
Elizabeth Miller:  @northatlanticfiberarts
Ellen Skea Marshall:  @twocatsanddoghooking
Amy Meissner:  @amymeissnerartist
Michele Micarelli:  @michelepmicarelli
Linda Rae Coughlin:  @lindarae_coughlin
Sayward Johnson:  @saywardjohnson
Lori Laberge:  @lorilabergeart
Karen Larsen:  I don’t believe Karen is on Ig but she is on fb

And to everyone in the US, mother or not,

HAPPY THANKSGIVING!

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The artists are angry; they’re PROTESTING!

Of course, they’re angry; they’re protesting!

That’s what I told a friend last Friday night at the opening reception for PROTEST: SEE Something, Say Something at Fusion in downtown Albuquerque. (More info HERE.) It’s a good, meaningful show, filled with all kinds of media and messages. Rightly so, with protesting as a theme, they aren’t always pretty.

Sheela Na Gig, hooked art piece
Sheela Na Gig is a Celtic symbol. I’ll let you read about her and how she was and now is used for protests HERE. (Hooked on cotton monk’s cloth with mostly old t-shirts and a bit of silk sari ribbon; embellished with glass beads.)

 

As I mentioned on social media after posting pics of my two pieces, I was sorry not to get more and better photographs, but I had to leave early. All Friday I’d battled a migraine; finally, the nausea and fatigue got the best of me. I didn’t feel better till Monday/Tuesday. Nonetheless, I encourage all the local readers to make their way to Fusion one afternoon or evening to see what the (protesting) artwork really looks like and to see it all.

 

Hooked art, THE MIGHTY ONE, THE ANGEL OF @)@@
Later every year, I create an angel for the following year. This was THE MIGHTY ONE, THE ANGEL OF 2022. (Hooked with old t-shirts, repurposed gold lamé, and plastic bags.)

 

 

Felted artwork for PROTEST show
TURTLE ISLAND SIEGE by Patricia Halloran  (Patricia had some cool things in the FABRIC OF NEW MEXICO SHOW.)

 

 

 

TORN BUT STILL WAVING by Elizabeth Potter (paper art)

 

 

 

 

 

 

 

 

 

 

 

WHOSE BODY IS THIS? artwork for Protest show
WHOSE BODY IS THIS? by Maria Jonsson (vintage dress form and acrylic paint)

 

BIG PHARMA SERIES #4, 5, 6
BIG PHARMA SERIES #4,5,6 by Martin Terry. Martin is also the curator of this show.

 

 

From BIG PHARM SERIES #1, 2, 3 #
Close-up of part of BIG PHARMA SERIES #1, 2, 3 by Martin Terry

 

 

 

 

 

 

 

 

 

 

 

GET WOKE artwork in PROTEST show
GET WOKE by Paula Steinberg (upcycled chair, acrylic/oil on wood and vinyl)

 

 

SHE PERSISTED
SHE PERSISTED by Betty Busby (Dunicel, felt)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

THE HISTORY OF BEARING CHILDREN
THE HISTORY OF BEARING CHILDREN, text by Jacqueline Murray Long, visual art by Martin Terry

 

 

 

 

Poem in PROTEST show
This is a more easily read photo of the text by Jacqueline Murray Loring. Another piece by a different artist accompanied this artwork. Visit the show to see it. (My photo didn’t come out.)

 

 

 

 

 

 

 

 

 

 

 

 

 

If you’re looking for a thought-provoking show, one that will let you see the outrage, the anger about so many things going on in our world today, come see the work by artists who are protesting at Fusion in Albuquerque.  Maybe we all need to start protesting.

 

Protest Art show poster

 

 

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Why aren’t we all wearing an orange shirt today?

 

Logo for Orange Shirt DayI’m wearing an orange shirt today, but only because I have so many Canadian friends on social media. If I didn’t, I’d be clueless to the fact that September 30 is Orange Shirt Day up north. Its other name is the National Day for Truth and Reconciliation, but again, it’s only “celebrated” in Canada. My question is why don’t we have that or something similar here in the US?

For those of you who don’t have a plethora of Canadian fiber arts friends, you can read about the day and its origins HERE.

Each year, September 30 marks the National Day for Truth and Reconciliation.

The day honours the children who never returned home and Survivors of residential schools, as well as their families and communities. Public commemoration of the tragic and painful history and ongoing impacts of residential schools is a vital component of the reconciliation process.
-From the website canada.ca

I get that I live somewhere – New Mexico – that allows me the chance to be aware of our indigenous populations pretty much every day. That “s” making “populations” plural is not an error. Not much more than a mile from my house in Albuquerque, across the Rio Grande, is the Indian Pueblo Cultural Center (IPCC). There visitors can take in the museum, buy jewelry and pottery, watch Native dances, eat really kick-ass food, and do a host of other things that help to educate those of us who grew up without learning much of America’s early history. You know, before the British, French, Spanish, and other European nations came on the scene and decided the land was ripe for the taking and “clearly” not owned by anyone. At least anyone “civilized.”

The IPCC is run and owned by nineteen New Mexico Pueblo communities. Nineteen. And they’re all sovereign nations. And they don’t include the likes of the Apache and Navajo and others who also abide, at least in part, in New Mexico. My point today is that all nineteen came together to create the IPCC on this particular piece of land:

It is located at the heart of nearly 80 acres of land owned by the 19 Pueblos and governed by the 19 Pueblos District (a sovereign government formed by the Tribal Councils of the 19 New Mexico Pueblo Communities) at the former location of the Albuquerque Indian School (1881-1982)
-From the IPPC website

Again, I ask, why aren’t we here in the US wearing orange today in a spirit of solidarity and reconciliation? The same atrocities that happened up in Canda’s schools happened here. And we had more schools!

Last year I wrote about a rug hooking project that was a collaboration between myself, friend and guildmate Ruth Simpson, and Acoma Pueblo artist Patricia Lowden. You can read about it HERE. You can also read about the cushion and our collaboration with Patricia in the current issue of Rug Hooking Magazine (RHM). Unfortunately, I was prompted to write the article after I read another RHM article in which an artist/author indicated that indigenous art is ripe (word used on purpose) for using in rug hooking patterns because: The images of art from indigenous peoples are always ancient, copyright free, and so beautiful. Yes, that is a direct quote, and it went right up my ass sideways. (Pardon my French.)

And people think cultural appropriation isn’t a real thing. How can you if you think all the Natives are dead?

Again, I ask, why aren’t we here in the US wearing orange today along with the Canadians?

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Need a Boucherouite fix?

We’re offering a second session of Build a Baby Boucherouite in March.

Boucherouite inspired hooked art
The current Boucherouite I’m working on is all hooked and steamed. Just some hemming to do on it now.

In the Studio’s Workshop Week 4 is in the books now as is my Build a Baby Boucherouite class. We had an excellent turnout too, about 80 students, the most we’ve ever fielded. They came from all over: the US, Canada, and even Ireland! As usual, many took more than just one class, thereby ensuring they have a pile of UFOs sitting in their project baskets to last them the rest of winter. Besides teaching, at least three of us from In the Studio joined the watercolor workshop taught by Jane M. Mason. Now, besides my unfinished fiber (crocheting and hooking) objects, I’m looking at the the kick-ass paints I bought for the class. Must make time, must make time…

The Boucherouite workshop went well. In fact, you can track student Jean Ottosen of Jean Ottosen Studios on her blog as she finishes the piece she created. And it’s not a baby Boucherouite either. Jean went full table runner size. Woohoo, Jean!

There were 15 of us in that class, but others have expressed an interest in another session. Yay! That will take place at 1:00 pm Eastern, Saturday, March 12. Also on Zoom. If you’re interested, please contact me at Laura@highonhooking.com. The workshop typically lasts between two and three hours, but if you need to duck out after two, no problem. Any issues, I’m just an email or phone call away. More info below.


BUILD A BABY BOUCHEROUITE
With Laura Salamy

Saturday, March 12 at 1:00 p.m. Eastern

Boucherouite inspired hooked rug
Your Boucherouite can be small just to try it out or as large as you’d like.

Course description
Boucherouites are having their day! They’re so trendy that you can’t look at a Better Home and Gardens magazine or watch an HGTV show without seeing them.

The Berber tribe of Morocco have been creating Boucherouites, one-of-a-kind, hand-knotted rugs since the mid-20th century. Traditionally, they’re made using old clothes and other textile scraps. They’re a pretty freestyle form of expression often looking as if the weaver started with one color scheme and pattern, got bored, and moved onto something else. They’re fun in a colorful, spontaneous way and are easily adaptable to rug hooking.

In this workshop you’ll design your own hooked “Baby Boucherouite” rug and start to hook it with textile scraps you have on hand be they cotton clothing, old bed-sheets, and/or leftover wool noodles. The sky’s the limit! We’ll also discuss how to prepare, cut, and hook with non-wool materials.

Length of class: 2-3 hours

Who should take this course
This class is designed for a student proficient at rug hooking basics, particularly the mechanics of pulling loops through a backing.

Materials needed
Because this is an online workshop, students will supply their own materials. Materials will include those one usually uses to hook a rug as well as a few others. More information will be provided to students upon registration.

Class fee:            $45 US
For more information or to register, please contact Laura at Laura@highonhooking.com.

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