Featured Artist: Mary Stoudt

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Mary Stoudt

Pink

Artist Statement: 


 I create my art quilts looking through a lens informed by decades of experimenting with a wide variety of art media, manely photography, printmaking, ceramics, weaving, collage, bookmaking, and sculpture, etc.

To begin an art piece I imagine a basic composition in my head concentrating on color and form, and then work intuitively through each piece. As I progress through the quilt, I improvise, perhaps like a jazz musician would.

Sometimes, I give myself quilt assignments such as, "See how big you can make a quilt', or "use wool and cotton together" or "see how many layers you can add to make a quilt. Some of my quilt creations could be put into categories such as color studies, storytelling, or optical illusions.

Warm Planet

About the Artist: Since the 70's I have been stitching, weaving, making paper, creating mixed media all to create diverse works some of which have been described by critics as being whimsical and spiritual. In 2003 I started layering fabric in a grid-like fashion. Simply put, I visualize the quilt composition , its colors and forms in my head and then as I move through the process, I improvise the details. For certain pieces, I make an actual size pattern as I move through the process, but I introduce new elements while using the pattern. I love the warmth, the flexibility, the play of color and textures of quilt making.

Here is a mixed list of my favorite artists and other inspirations:
Paul Klee . Gees Bend Quilters . Pennsylvania Mountains, Fields . Traveling . Andy Goldsworthy . Red Grooms . Blues Music . NY times Sunday paper . Gustav Klimpt . Oiseaux Sisters . Joseph Cornell . Fabric Stores . Frank Gehry . Audrey Flack . Childhood Memories . My family . Hundertwasser . NPR . Goggleworks . Literature

Featured Artist: Caleigh Stednitz

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Caleigh Stednitz

Mind of a Madman

Artist Statement for “Mind of a Madman”

    In working with the primitive process of felting, I explored less concrete themes of the mind.  Felt is an airy and light material that proves to be durable and protective.  I chose to use felt to create a map of what I believe the mind of a sociopath resembles.  In researching brainwaves and patterns of sociopathic persons, I came across studies that show that sociopaths tend to think in spirals; the thoughts constantly running through their mind until it reaches its acme, which usually leads to an event performed by the person.  Felt allowed me to create an airy and abstract field on which to create a mind map, alluding to the notion of the mind not being a concrete object.  I built up peaks of emotion by felt, embroidered marks representing repeating thoughts, and couched rope to represent the horrific thoughts that lead to unfortunate events. 

Duality of Livestock

Artist Statement for “Duality of Livestock”

    The process of using wool from livestock such as sheep allowed me to explore the duality of the material.  Wool is used to create wearables that offer warmth and protection from the elements.  However in contemplating the usefulness of the material, I began to think about the other uses livestock provide: meats.  It seemed strange to me that something that produces such a soft and cozy material also hangs in a meat freezer, waiting to be fed to consumers.  With the felting process I chose to incorporate these two ideas, illustrating the duality of livestock.  I embroidered abstracted slabs of meat hanging from chains.  This is embroidered on a piece of needle felt.  I chose to hang the piece using hooks to simulate that the piece itself is a slab of meat, with the viewers being consumers.  In doing this, I hoped to create a thoughtful piece that presents both sides to our use of livestock as both something protective and edible.

Featured Artist: Mary Schwarzenberger

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Mary Schwarzenberger

Vortex. Machine and wet felted 17"x25"

Artist Statement

I don’t remember a time when I did not regularly engage in creating things. It seems that I have always had a few projects in progress at a time. Throughout most of my life the need to create has been just as strong as the need to eat and breathe. When bringing creative ideas to life, as decisions and obstacles appear, the brain is always ready with ideas, solutions, and alternatives. After studying language and learning for many years, this whole process is intriguing to me. There is not much I’d rather do than create something!

Vortex, detail. Machine and wet felted 17"x25"

In my fiber art I try to create moods with color that soothe or stimulate. To quote Kaffe Fassett, why use one shade of red when you can use 17? More recently I have been exploring diverse techniques to create texture, from manipulating fabric with a needle felting machine to couching yarns on the surface. The garments I create are designed to provide comfort and create visual statements. It pleases me when they initiate conversations and interactions I would not likely have otherwise engaged in. I am highly influenced by the beauty of the local flora and fauna and I try to incorporate natural themes into my work.

Featured Artist: Tanya Prather

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Tanya Prather

Waterfall

 Artist Statement

Although I’ve worked in many forms of media, I’ve been drawn to fiber in recent years because it engages more of the senses.  It is not only visual, but tactile. Fiber utilizes the same principles of design as other mediums, but the results are manifested through a process that is both planned and organic, and the aspect of texture takes on a much larger role.  My goal with any fiber piece is that it should be so compelling that the viewer not only looks at it, but has an insatiable need to touch and feel it.

Nesting Instinct

Because fiber is often pigeon-holed as craft rather than fine art, I am constantly challenging myself to take it beyond the traditional wall hanging or wearable.  My felting has a tendency to evolve with a 3-D or sculptural quality. 

Emergence

I am fascinated by the endless possibilities of Nuno felting because it allows disparate materials to be fused together seamlessly.  I most often use protein fibers – silk and wool – but sometimes integrate rayon, polyester, linen or cotton when a “found” piece of cloth captures my interest.  I enjoy cutting scraps from old clothing, repurposing things that have been tossed aside – making unlikely matches and marveling at the results.  Recycled cloth provides a broad palette of textures, patterns, colors and weights, and because it comes with a history of its own, I find it more intriguing and thought-provoking than fabric taken off the shelf.

Featured Artist: Kachina Martin

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Kachina Martin

Aubergine Moss
nuno felting 98"x8"

 Artist’s Statement

My most cherished childhood memories center on fabric - the comfort of a blanket edged in silk, the feel of a well-worn cotton tee, the nubby texture of a hand-knit sweater.  As the daughter of a mother who teaches in the field of fashion and design, I was acutely aware at a young age of the transformational properties of clothing.  My artistic interests were equally shaped by my grandmother.  Guided by her firm hands, unwieldy lengths of fabric were coaxed to behave, ultimately shaped into a variety of forms marked by perfect, crisp seams.  The drama that surrounded the cutting of the fabric felt epic – she possessed such confidence as she sliced thorough layers of cloth, following the edges of the whisper-thin tissue paper that outlined its eventual shape.  My grandmother taught me to decode the language of patterns, to sew, and later, to knit, crochet, and embroider.

Aubergine Moss, detail

When I discovered shibori, I was awed by the limitless possibilities inherent in this ancient Japanese dyeing process.  Areas of pure color are seamlessly blended in an endless variety of tints and shades, revealing where color meets resist, creating a rich visual texture that transcends the notion of pattern.  My experimentation with dyes introduced me to felting, and I am fascinated by the sculptural properties of wool.  Nuno felting enables me to combine my own fabrics with wool to add depth and dimension to my wearable pieces.  I feel that my pieces’ wearability enhances, rather than detracts from, their depth.  That the work will be worn is significant, indeed essential, to its artistic value.  It is when the work is worn—when the wearer imbues it with her own sense of style and integrates it into her daily life—that the work truly comes to life. 

Bits and Pieces
nuno felting, wool roving, silk yarns, silk fabric 78"x11"

While all of my work fiber-based, not all of my pieces are intended to be worn.  I am drawn to old garments that show evidence of the hand that created the piece as well as the person who wore it.  These indelible marks—stitches, stains, mended holes, and spots rubbed almost bare by continual contact with the body—speak to the hours invested in the making of the garment as well as the years that have passed as it was worn, again and again.  I am interested in ways in which to transcend both the utilitarian nature and the inevitable entropy that continually affect these garments and reimagine them as enduring, sculptural artifacts.  In so doing, I aim to defy the viewer’s expectation of what fiber is, can, or should be. 

Bits and Pieces, detail

Bio

Kachina Martin is a fiber artist who teaches art and art history at Muhlenberg High School in Laureldale, PA.  She earned a B.A. in English and French with an Art History minor at Albright College; she received her Master’s in Art History from Temple University.  Kachina has also studied fiber arts at the Arrowmont School of Arts & Crafts, the University of the Arts, Touchstone Center for Crafts, and Cannon Hill Studios.

In addition to her work as a public educator, Kachina has also lectured at St. Francis University, Albright College, La Salle University, Philadelphia College of Textiles and Science, and Temple University.
 
For further information, please visit www.howlingruth.com. 

Flume
nuno felting 78"x10"

Flume, detail

Kachina Martin is one of three artists exhibiting in our gallery whose work has been featured in the book, 500 Felt Objects.

Featured Artist: Pamela A. MacGregor

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you:    Pamela A. MacGregor

Devils Claw Teapot #2, Side1
Dried Devils Claw Pods., waxed linen, sheeps wool 14"x10"x6"

Devils Claw Teapot #2, Side2

Artist Statement                           
My life as an artist has taken many turns over the years.  Artist as student, artist as teacher and now retired teacher as felt artist.  Since my retirement, the discovery of felt making has charged me with a new artistic energy. The medium pushes me into constant and exciting engineering challenges as I push the medium to its limit.  Each work takes me down it’s own unique path towards new explorations in technique, engineering and presentation. It seems at the end of the day there is usually a sweet surprise to discover along with an “ah ha” moment for future felt works, each bringing with it new and unique possibilities.

Ming Vessel
wool (sheep) glass beads, silk yarn, FELT 9"x7"x7"

My work has been shown in national and international art shows and can be seen in local galleries, private collections, The 500 Felt Objects book by Lark Publishing and on my website, www.tarveycottagestudio.com.

Tea for Two, side 1
sheeps wool, glass beads, DMC thread, dyed plastic washer monofilament, FELT 10"x9"x5"

Tea for Two, side 2

Pamela A. MacGregor is one of three artists exhibiting in our gallery whose work has been featured in the book, 500 Felt Objects.

Featured Artist: Vicki Jensen

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Vicki Jensen 

Old Man's Beard Moss
Hand-dyed, merino wool, yarn, thread,  welt felting, free-form lace, free-motion-machine embroidery 17"x15"x.25"

Old Man's Beard Moss, detail

 

 

 

Artist Statement


I have a great passion for nature and the out of doors. I use the natural surroundings as my source of inspiration for the art that I create. From birds to nests to ferns to tree bark to lichens - - - I look at all of the textures, colors and patterns that nature provides to us and interpret them in felt. The medium of felt allows me to combine the elements of surface design I love, all in one piece: dyeing with MX and Acid dyes, along with hand stitching and embellishment.

Fallen Leaves
Hand-dyed merino wool and silk organza, silk thread, wet felting, lamination, hand stitching 20"x16" x2"

Fallen Leaves, detail

Lichens and Moss
Hand-dyed, merino wool, scrim, cheese cloth, cotton floss, welt felting, lamination, hand stitching, loop embroidery 17" x 15" x 1.75"

Lichens and Moss

Marjorie Fedyszyn

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Marjorie Fedyszyn

Stuck in Montana I, Primordial Felt, Stuck in Montana II

Stuck in Montana I

 Artist Statement:

The spark of creativity and expressing myself through my hands has run deep within me for as long as I can remember. The natural world around me continues to feed my spirit. When I discovered the wet felting process a whole world opened up to me. The metamorphosis from soft and fluffy wool to strong and durable felt through hard work and agitation never ceases to fascinate me. Through felting I have discovered the melding of the natural world with all the technical skills and knowledge I have obtained throughout my life. My work in felt satisfies the “no rules” side of my character while feeding my tactile, visual and exploratory disposition. Each new work provides me with questions needing answers and problems needing solutions.

Primordial Felt

Stuck in Montana II

The themes I am most drawn to are nature related. This current body of work was initiated while on a vacation in Montana. I was heavily influenced by my environment and the materials that were presented to me on our hikes. Collecting the plant and animal matter that came home on our socks or fell from the trees as I worked outside provided new materials to explore. I then incorporated these elements into the samples I created which led me to the works I have submitted.  The integration of leather and other elements into the wool is a process I have been examining for some time. These pieces are a launching pad for larger works I am still developing.

Anna Kristina Goransson

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Anna Kristina Goransson

Growing,  Handfelted and woven merino 44"x22"

Artist Statement

My work has grown out of my fascination with the forested world of my childhood in northern Sweden, along with my intense observation of the natural world that surrounds me. I long for moments that I have experienced in this world and my work focuses on abstracting these moments, bringing new meaning to a seemingly ordinary occurrence. I am inspired by the structures of nature, whether it is the pattern that lichens create on a rock or leaf structures overlapping above my head.

Growth:  Handfelted and dyed merino 40"x40"

Felting is the perfect technique to convey my thoughts. The softness and durability of wool enables me to create dimensional forms that reflect the fragility and strength of nature. Dying wool creates saturated colors that evoke the fantasy quality of the environment I am recreating. Light is absorbed and makes the felted forms shine, much like the natural world.

Anna Kristina Goransson is one of three artists exhibiting in our gallery whose work has been featured in the book, 500 Felt Objects.

www.annakristinadesigns.com

Featured Artist: Anne Vickrey Evans

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Anne Vickrey Evans

Coral Vase

    I have been making felt for 28 years because it is a satisfying craft that allows unbounded creative freedom. Creating a work of felt art starts with arranging the materials - wool and sometimes fabric - then using soap and water, the materials are worked with the hands to felt, full and shape the finished piece. Feltmaking is very labor intensive so using a rolling machine frees me from most of the labor to allow me to place more emphasis on the creative process.

Golden Shawl

I include silk, fabrics threads and other materials with various wool types in my hand made felt. I dye most of the wools, fabrics and silks that I use in my work. I use a variety of techniques to form the felt including hand rolling, needle felting and using a rolling machine for feltmaking. I continue to test the limits of feltmaking and I am currently experimenting with surface design techniques in wearables, wall hangings and three-dimensional vessels.

Featured Artist: Michael Dennis

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Michael Dennis

Avian Algebra

A bird in the hand is worth what? Mathematically, if the two in the bush are equal to the one in the hand, then we may freely substitute a bush full of birds wherever one appears in our mitts. Thus, Avian Algebra.
But from the fabric geek point of view, this piece is about exploring the limits of needle felting. Popular theory holds that felting requires 75% wool to succeed. That’s true of wet felting, surely, but how is acrylic felt made? with a needle. So if we’re needle felting, we may ignore that rule. The hand is 100% acrylic, from recycled fibers.

Avian Algebra, side view

 Needle felting requires a core or a support. Or not: two layers of the hand were formed over starch foam. The core was then washed out and a third layer of felt needled down on what is now a shell of felt. It wouldn’t hold its shape when attached to the bush (it needed another layer of felt, probably), so it ended up stuffed with wool, but free-standing shells of unlimited complexity are now possible.
The bush was inspired by formal topiary. It is four layers of felt stiffened by appliqué. Again, the form was a bit too sensitive to deformation, so to keep it ball-like, a wire core was collapsed, inserted in the shell, and then expanded to form the branches.

The birds are almost an anticlimax. They are embroidered and assembled with a blanket stitch, and stuffed with wool. Birds called for a bird cage, and that was the inspiration for the stand.
It became a project driven by the sheer joy of tinkering.

Michael Dennis has been a freelance graphic artist since 2002, doing business as MDIM. He graduated in 2010 from Pennsylvania College of Art & Design with a major in Illustration, and may eventually get a diploma.

Previous shows and commissions:

2010 Note card commission, Children’s Choir of Lancaster
Six vignettes in paper depicting “kids and music”. To be released in Fall 2011.

2010 Amtrak Station, Lancaster, PA
“Twins” railroad-inspired art commissioned by CH&E Construction. Reproduced on a construction barrier during renovations through 2011/ early 2012.

2011 Size Matters at Some Things Looming, Reading, PA
“A Whale’s Life” series, depicting 19th–century whaling from a whale’s point of view. Works in this show were limited to 12” in each dimension.

2011 Community Art Show at Lancaster Museum of Art
“A Whale’s Life” series.

Featured Artist: Janna Carrozza

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Janna Carrozza 

Reversible

  Weaving with respect for the environment has been my passion for many years. The adventure started in college with organic cotton, hemp, linen, and recycled denim. My fiber selection now includes tencel, soy, corn, and banana silk. Soy silk comes from the by-product of the tofu manufacturing process; tencel comes from wood pulp and the trees are grown on land that cannot be used for any other purpose. Tencel produces almost no waste and the little bit can be recycled. All cellulose fibers, including banana and corn, are also completely biodegradable. Banana silk is not only created from the stalks of the banana tree, but the fiber is also recycled from clothing previously made from banana silk. The fiber I weave is not only eco-friendly, but pesticide free. The natural dyes used in my weaving are harvested from my garden whenever possible. The colors are as carefully chosen and blended together. The colors and patterns are uniquely woven together like paint on a canvas. Each weaving is both one-of-a-kind, carefully rendered and designed.

Creating eco art is imperative to the philosophy of consciously thinking about the environment as a part of the inspiration. As all organic things in nature each one is unique, I never repeat a design pattern in my weavings. I choose to invent something new each time I begin to weave. Nature is a huge part of my thoughts, and is when I am at my best.. The weaving process is a beautiful experience that takes an enormous amount of time to complete. Each inch that is woven is larboard as well as thought out. The process of my art making is peaceful and reminds me of how I feel when I am doing yoga. I feel centered, focused and relaxed.  I am peace with the world and myself when I weave. The best part of the whole process is cutting off the fibers and admiring the texture and drape of a finished weaving that did not deplete, or harm the earth to create.

Featured Artist: Joanne Strehle Bast

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Joanne Strehle Bast

Zinnias

         As a child, I did a lot of number paintings, but I never followed the lines, and embroidery kits, but I never read the instructions.  When it came time for college, I believed I must put away childish things and study something serious. After pursuing several scientific degrees, I rediscovered stitchery as an art form.

Black Eyed Susans

     I worked both flat and sculpturally, eventually moving into fiber jewelry.  I became enamored with beads first to weight down fiber adornments and eventually as a medium in their own right.  I found my background in manipulating sculptural forms in thread translated well into beadwork. I have since also moved into knitting and felting. Whether working with beads or wool, my primary artistic focus is color and color shadings as well as shaping sculptural forms.  

Featured Artist: Jacqueline Arbaugh

From September 10, to November 5th, we present "Felt So Good" during which we'll focus on individual artists here on our blog.  Today, we're pleased to introduce to you: Jacqueline Arbaugh

Art in My Heart

“Art in my Heart” is a sculptural creation constructed from wool felt to simulate a hanging human heart. I chose to represent a human heart because it is a significant vital organ that is commonly used to represent both life and passion. My passion for art is connected to my physical heritage. The bleeding strands that include purple colored felt are intended to symbolize the artistic qualities that run through my family and myself. The material of wool reflects the bodily nature of the subject matter. This representation emphasizes the motion of hanging and bleeding.

Art in My Heart

This piece was inspired by fiber art that I viewed at the Tate Modern in England, entitled Abakan Orange by Magdalena Abakanowicz. Because of this inspiration, I have included red fabric throughout my sculpture that I acquired while residing in England. I was inspired by the visual hanging format of Abakan Orange, but applied the simulated dripping action to a more personal context.

Art in My Heart, detail

 
Other artists that inspire my work include Louise Bourgeouis, Helen Chadwick, and Rebecca Horn. I am drawn to artwork that connects the human body with narrative or emotion. I typically work in various mediums, including ink and collage, and recently have found mixed media outlets of art creation. I hope to include fiber with mixed media in the future.

My Foray Into Felt

I tip my hat to those fiber artists who use felt as their medium.  My limited experience with felting was enough to tell me I would not ever be one if I could help it. A felt artist, I mean.  It also gave me a huge appreciation for those who work with animal fiber, manipulating it until it becomes matted and formed into cloth.  I just don't have the patience.  Or apparently, the fortitude.

It was most likely my Fibers II course at the University of the Arts when felt and I were introduced.We were given some raw wool, which meant we had to start from the very beginning. No luxury designer, pre-dyed roving for us. Oh no, that'd be too simple.  Step one, I learned to my dismay, was to remove the dung tags from the wool (of course, I didn't know that's what they were called at the time).

There was no advantage of using a washing machine and some netted lingerie bags to wash the wool either.  I was instructed to set out several buckets with hot soapy water. The wool soaked in one bucket, then was transferred to the next and then next and the next, allowing the wool to soak for a bit in each bucket.  The dirty water was emptied and refilled and the process continued until the dirt (among other things) was gone.  Twenty years later, I can't remember how long it took, but I can honestly say, I've since learned many better and less labor intensive ways to wash wool, now that I'm a spinner. 

After which, I decided I wanted colors in my felt piece. So I dyed the wool in a very basic rainbow of hues, since my mastery of colors and dyes were rather limited at that stage of my artistic career and learning.  After transforming the plain into bright electric colors, the wool was picked and then carded into batts.  And finally, I was ready to begin felting.

I believe there are various ways to create felt, and some that I'm not even aware of, but my instructor had us use netting to hold the batts in place. I laid the batts down on my army/navy store purchased mosquito netting, layering them perpendicular to each other.  I cut out shapes from the colored batts, and laid them on top.  Sticking some cord in amongst the layers, I thought I would make some textured ridges in my felt.  I was wrong.

 I sewed loose X's throughout the length and width of the piece to keep everything in place. It seemed the process would be fairly labor intensive, all that rolling and agitating that I was told felting involved.  Thinking I was going to be using copious amounts of hot water, soap, and agitation, I decided my apartment bathtub was the best place to conduct felt making, and made the dimensions of my piece accordingly.  Rolling and unrolling, squishing, soaping, and yes, even stomping on my wool, I attempted to pound those batts into submissio...er, felt.  After about ten minutes, I was weary.  After twenty, I was exhausted and annoyed.  And after an hour, I gave up.

I probably could have gone back to it the next day. I might have, I can't recall.  And I'm sure I received a less than stellar grade for it.  To this day, I'm not sure what I was thinking when I laid it all out, if I was thinking beyond my typical 20 year old attitude of  "just get this done, and get it over with." The colors were unspectacular. The design was a fail. And the wool was just barely felted.  There's more than a good chance I went about felt making the hard way, as I almost always do everything the hard way.  But then again, I wouldn't have gotten this absolutely fabu pic of me standing in my bathtub, now would I?

Me, a Bathtub and My Ugly Piece o' Felt.