Texílsetur Íslands

Currently, I'm living and working at Texílsetur Íslands, the Icelandic Textile Center, in Blönduós, Northwest Iceland. Texílsetur is housed in Kvennaskólinn, a former women's school, situated at the estuary of the Blanda River and Húnaflói Bay. It occupies the top two floors where there are private rooms and two large shared studios. I have a private room and studio and feel very fortunate to be making my work in such a special place, a transitional place, where the river meets the sea. I have long been fascinated by estuaries and brackish water, and given my most current work, In Between, which is about transition, being here at Texílsetur seems very, very appropriate. I'm also curious about the history of the school and like thinking about the years of women who lived and learned here, too.

I will be here for a month and will be creating a black version of "Island of 14,264 Days," something I've been wanting to do since I first made that piece in May, 2013. I came up with the idea then, to make a companion during the darkness of winter, the opposite of when I made the white version. I began working yesterday and will complete the piece by the end of the month. Other plans include walking and documenting my observations outside, but also studying the interior of this building and taking pictures of what I see inside. I also have a lot of reading to do.

the view from my room on my first day

Thanks for reading.

Stitch

Island of 14, 264 Days is currently on view at Light Art + Design in Chapel Hill, NC. It is part of the gallery's current exhibition, "Stitch," alongside works by Beverly Dawson, Peg Gignoux, Robin Johnston, Harriet Hoover, Rachel Meginnes, Carolyn Nelson, Susan Harbage Page, Lynda Sanders and Leigh Suggs. I am excited to be a part of this show and love that this piece is out in the world.

Thanks to Light for sending me these photos of the framed piece in the gallery.

The exhibition runs through October 26.

Thanks for reading.

Total Immersion

I spent the day in Blönduós last Wednesday and surrounded myself in textiles. I went to Heimilisiðnaðarsafnið (Textile Museum) first and was there for four hours. (I also visited the week before but found an hour and a half was simply not enough time.) I looked at everything, and I mean everything, very, very closely. I took tons of photos and did some research, thinking, and writing. 

There are many things I love about this museum: the collection is rich and well-curated and organized thematically, presenting a story of textiles in Iceland from traditional costumes complete with jewelry to the production and use of wool to lace and other finely detailed stitched pieces to contemporary works by Icelandic artists. There is also a section dedicated to the collection of Halldóra Bjarnadóttir, an early Icelandic feminist, one might say. She was dedicated to helping women and was also an avid collector of textiles and textile-related tools. You can also touch everything, normally unheard of in museums, but there is a basket of white cotton gloves available as you walk in the door.

Halldóra at 35

About half-way through my visit, I was able to meet with the director of the museum, Elín S. Sigurðardóttir. We had a very nice time talking and getting acquainted. I really liked how she spoke about the importance of patrons being able to touch things on display, that it helps with understanding and appreciation. I completely agree. I also had a great visit with Margrét Arna Vilhjálmsdóttir, who works at the museum and who studied textiles in school. We got to talk a lot about textiles, making work, the museum, and Iceland.

Next I went to Textílsetur Íslands (The Icelandic Textile Center) to work on the Vatnsdæla Saga tapestry, a 46 meter (!) embroidery begun by Jóhanna Erla Pálmadóttir. Jóhanna gave me a short lesson on how to make the different stitches and then set me to work as she sat across from me and also worked. It felt very special to learn from her and to work side by side on her piece. I am going back to Blönduós tomorrow to finish the boat.

Finally, I taught my basic embroidery class at the Textile Center, which I wrote about yesterday. It was so much fun and a wonderful way to end my day of total textiles immersion.

I posted lots and lots of new photos on Flickr.

Thanks for reading.

Resonance

traditional Icelandic costume with jewelry

I finally made it to the Textiles Museum and the Textiles Center in neighboring Blönduós. The museum was closed for the winter until June 1 and I've been trying to get some time with the very busy Jóhanna Erla Pálmadóttir, director of the Textiles Center. What an amazing day it was! I went to the Textiles Center first and was greeted by intern/artist and my new friend, Ashley Lamb. She showed me around the Center which was once a school for women and now serves as an artist residency. The building is lovely with original furniture and beautiful light. Then I met Jóhanna and we had a nice talk and organized the embroidery class I will teach there next week. (More on that tomorrow!) After a long walk around town, I went to the museum and was blown away. I had read that it was a great place, but I really had no idea. So many exquisite things: traditional costumes complete with jewelry, more historical clothing, lace and embroidered pieces, blankets, tapestries, more jewelry, and wonderful antiques. I was overwhelmed and quite moved--to be in Iceland working on embroidery and to visit a place like this, as well as the Textiles Center, is incredibly meaningful to me.

weaving looms at the Textiles Center

some lovely chairs at the Textiles Center

the Vatnsdæla saga tapestry, a project of Jóhanna's at the Textiles Center--anyone can help stitch and I will make my mark next week

a contemporary installation at the Textiles Museum

thimble and case at the Textiles Museum, part of the collection of objects that once belonged to Halldóra Bjarnadóttir

antique lace at the Textiles Museum

I will go back to the museum next week to spend more time and really look closly. The hour and a half I allowed there just wasn't enough.

More pics on Facebook and Flickr.

Thanks for reading.

Done

I completed my embroidered piece on Friday. I estimate I worked on it about 28 days and just over 200 hours. This is the longest I've ever worked on one piece and also the first time I've worked on only one piece instead of several things at once. (I did make those wool necklaces in tandem, but I consider those a fun exercise.) I'm happy with the final composition but as per usual I feel detached from the work. This happened after I completed both solo show bodies of work, too. It's a strange feeling and difficult to describe. I wonder if it comes from simply becoming so close to one's work after being with it day in and day out and the deep focus that occurs during the process. I may never figure it out, but now that I am feeling it for the third time, I'm at least beginning to accept it as a natural part of my process. Anyway, as I said, I am happy with the piece and I am also excited that I accomplished my goal for the first month here at Nes. I'm now working on a title and accompanying statement and will post those for you when they are ready.

Take a look at the near daily progression on Flickr here.

Thanks for reading.

guest star friday no. 5...lina peterson

as with last week's guest star, sybille richter, i just found the fantastic experimental work of swedish maker, lina peterson. lina uses mixed materials (metal, textiles) and techniques (metalsmithing, crocheting, sewing, dip-coating) to create her sculptural pieces. i love her use of color, texture, and abstract forms. it seems she's investigating how her chosen materials (and their varying characteristics) and the process of making relate to one another. her work also seems very personal and intimate and i absolutely adore it. you can see more images of her jewelry at her website and at sienna gallery's website.

the above pictures (both brooches) are from sienna gallery's site.
top - "crocheted brooch" in oxidized sterling and cotton.
bottom - "stitched brooch" in textile, thread, and plastic dip-coated metal.

just lovely.

thanks for reading.