As an artist, my biggest challenge is the idea that my art must say something - most specifically something worth saying. In a world that still devalues women’s voices, that celebrates only the visual appeal of our self and our work, that encourages us to be small and self controlled, I am striving to strip myself of the voice of the ‘other’.
In The Summoning, I cast off the colourful plumage of outward facing words that speak of my relationships with others; like patient, gracious, attentive, considerate, thoughtful, and loving. And using the poetry of Nikita Gill, I summon for myself the words that make my soul sing; fierce, bold, adventurous, unfettered, energetic. These words speak to me of my own power to exist in this world without reference to others.
The Summoning is the second in a series of solo exhibitions that centre around the Raven as intermediary between worlds, a spirit guide, a harbinger of change.
By listening to the Raven’s call, I seek a deeper knowledge of myself and my art. I move towards a richer understanding of the interplay between the felt and the spoken. And I discover a wild and joyous way of being me.
The Ravens Cry
I loathe being told I am accepting, adorable, affectionate, agreeable, amazing, amiable, amusing, attentive, available or whatever else people may possibly say about me. These are all outward facing words. They are about taking care of others. They objectify women. Perhaps even worse are bossy, bitchy, bubbly, bolshy, breathless, and beautiful. As these words are feminine: uniquely used to put women in their place.
A teacher once snidely remarked that I must have grown up in a liberal family; I hadn’t been properly taught my place. The remark was meant to cut me down to size. But I choose my own place. I take up my own space.
In my journey as an artist, I seek to be fierce and unfettered, bold and adventurous, wild and passionate. These words speak to me of my own power - to exist in this world without reference to others.
A Rusted Development
In a world where each of us increasingly curates our own experience - choosing what Instagram accounts to follow and pages to like, carefully constructing selfies that show off our lives, and binging on netflix - a traditional (fixed and untouchable) exhibition of art, as seen in many galleries, can create an insurmountable distance between artists and viewer. A Rusted Development seeks to bridge that distance, encouraging viewer to become part of the process.
A Rusted Development is a series of fibre and found object pieces that are designed to be mobile. Viewers are asked to touch, interact with, and reorganize the pieces as they like - curating their own show.
Partial Installation at Grimsby Public Art Gallery
3 Plinths - Front
3 Plinths - Back
Denlow Falls - Quilt
Solar Helix - Quilt (detail)
A Sunday Kind of Love
At a ceramics residency this winter, I made 60 ceramic bottles, that I've decided to name A Sunday Kind of Love. Not sure of their purpose, I packed them all into my suitcase and flew home with them. Days later, I unpacked them and installed them temporarily around my hometown, Campbellford.
The installation was part of an international event called [[ Everyone's asking if I'm ok / No one's asking if I'm ok ]] by the icing room. These are some of the photos from that installation.
A Winter In Tuscany
In a ceramics school, perched on an edge of a valley, in the midst of the rolling olive orchards and vineyards of Tuscany, buffeted by the competing egos of our instructors, ensconced by the supportive protection of creative women, I pushed my craft hard.
These vessels hold my hopes for a future filled with sprawling vistas, satiated appetites, and birdsong.
Thank you to The Ontario Arts Council for providing me with a Chalmers Professional Development Grant to help make this happen.
Using eucalyptus gathered while voyaging, I create imprints by tightly bundling the eucalyptus with various materials, drawing out an eco print. I then marry these imprints with other materials - often found objects - to create a conversation. This conversation speaks of the distances we travel, both physical and emotional, to connect with others.
Imprints - shared community
Hand-dyed and printed fabrics (eucalyptus, rust, tannin), spiky sweetgum seed pods, leather, found objects - $220
Hand-dyed and printed fabrics and fibres (eucalyptus, onion, iron), reclaimed wool blanket- $220
Imprints - among friends
Hand-dyed and printed fabrics (eucalyptus, rust, tannin), leather, found objects - $220
Imprints - nuclear family
Hand-dyed and printed fabrics (eucalyptus, rust, tannin, sumac berries), leather, found objects - $220
Hand-dyed and printed fabrics and fibres (eucalyptus, onion, iron), reclaimed wool blanket, bone button - $220
Created in a frenzy of making, these seven pieces represent my first sustained effort to create a 'body of work'. Pushing ideas of completion - from framing to naming - this work captures my emergence as an artist.
she sings a new song - detail
she rues the tidy wife
she rues the tidy wife - detail
she looks to a new harvest
she looks to a new harvest - detail
she tucks the old comforts away
she tucks the old comforts away - detail
she gathers the storm within
she gathers the storm within - detail
she sheds sorrow
she sheds sorrow - detail
exposed; she rises alone
exposed; she rises alone - detail
she sings a new song
Working the Willard
A View Into One Artist’s Process of Creating Work for Exhibition
May 4 - July 24, 2017, Burlington Public Library
I worked in the library weekly on Thursday morningsfrom May 4 to June 29, 2017. It was a fertile and fraught time - full of ideas and processes, but also filled with anxiety (will this piece work? will the piece be good enough, will I get enough done?). As I am a community artist at heart, I shared my process and created work on the library's loom that formed part of my show
The pieces in this gallery were installations created specifically for the library.
San Fran Forest
Paper Sheaves - detail
Whoo's Got an Idea
From the Deeps
Early Textile Work
Fascinated by fibre, I use traditional women’s skills (like sewing, quilting, felting, dyeing, and weaving) in a contemporary context, incorporating found objects, as well as my own ceramics, glass, and woodworking, to explore the binaries of maker vs. artist; functional vs. fine art; women’s work vs. real work.
This gallery showcases my early textile work
Somnolence - detail
Prairie Sunset - detail
Kecksies - detail
Headboard - detail
Eruption - detail
Cold Comfort - detail
Hors d'oeuvres - detail
Hors d'oeuvres - detail
Sunset on James St. N
Sunset on James St. N - detail
Acrylic on board, 14 in x 11 in, 2016
Acrylic on canvas, 12 in x 18 in, 2013
Acrylic on canvas board, 8 in x 10 in, 2016
Acrylic on canvas board, 12 in x 12 in, 2016
Acrylic on canvas, 36 in x 48 in, 2013
Acrylic on panel, 10 in x 10 in, 2013
Porcelain, acrylics. 22 in x 12 in x 15 in. 2015
Stoneware clay, watercolour paint. 24 in x 21 in x 21 in, 2015
Pit fired stoneware, 20 in x 15 in x 10 in, 2004
High School Halls
Unfired clay, wood, hardware cloth, 24 in x 24 in, 2005