conflicted

detail from "Rêver 4"

 To continue a private conversation in public (and one I have been having with myself)  - Why use cloth as an art medium when the expressions I want to make have nothing to do with stitch or texture or hand?

What a pain in the ass it is sometimes and why in the world make art in a medium that has been stigmatized in so many ways that we have to spend valuable time countering stereotypes and consign ourselves to figurative textile ghettos to have any public voice at all.

It's been pointed out to me that a big reason people make art in the first place is to get "buy in" or acceptance of the visions that please or speak to them- an agreement of sorts. "I  like pie. I made a great pie. Have some. It's delicious if I do say so myself"

It's clear that most creative people would rather have agreement with their audiences (whoa!..sometimes in the form of exchanging art for cash!) than spend time cultivating the attitude of "F@#K you if you don't like it" and working in a vacuum or making pies and letting them burn black or throw them at passersby.

Since many of my readers are artists who work with textiles,  have you ever asked yourselves "Why cloth" and what were your answers?

untitled Rothko

warm up continued.

"Frida Brings Home the Bacon" Any of you who are addicted to watching the barn owl cams will appreciate this one. After the mayhem and cannibalism of last season I only peek in from time to time. Still, nature's ongoing drama is compelling. I've jumped up to a 12"x12" format playing with shapes and space. Still very aware that the details and patterns of the much of the fabric that I have just made will not translate or work for much larger pieces. I might have to (gasp) make some more fabric with just big stuff in mind but the trouble is, in the past those pieces have become whole cloth pieces as I am unable to break down the dye painted design elements. Start with smaller pieces of fabric?