Artists are working to create a more fashionable frontier for all.

The blank slate of a new year is as seductive as the lure of a crisp white piece of clothing for one’s mishmash wardrobe. We all crave a fresh start and the promise of renewal, although I have never been one to hastily cast off the old in order to usher in the new. I am just way too practical as an artist who examines and preserves every scrap of fiber for some drafty hole that might present itself unexpectedly. 2012 will instead be a continuation of my ongoing mission to seek out individuals who understand the power of resourcefulness and the collective twining of fiber taking flight.

Naturally dyed-fiber from The Sacred Valley of Peru via Source4Style 

2011 found us exploring therapeutic connections between the heart, the mind, and handcrafting, and the year to come will no doubt be a continued testing ground for how and why we choose to implement DIY strategies as well as having increased access to sustainable fiber and artisan-made textiles via sites like Source4Style. I will be looking to designers, (outsider) artists, storytellers, and even urban gardeners for evidence of why the cultivation of local narratives and subversive craftiness makes good sense. It is at the fringe of these diverse realms where I feel that many sustainable solutions reside.

‘Knitta, Please’ urban fiber installation in Sydney, Australia

Fashion happenings are all good fun but for a huge sector of the population, this is still foreign territory and not so inviting at that. Our day-to-day lives are riddled with break out moments of stylistic genius, but it is is our immediate environs that influence how we look and feel in a sustained manner. I like the idea of casting the net wider to consider ideas related to ‘fashioning self and the environment’ – meaning that, a true understanding of how to map out a lasting fashion sensibility must now include a closer (smarter) examination of self in relation to one’s environment and the resources available.

The ‘Knitta, Please’ handknit bus paves the way for a more fashionable frontier

Women are quite good at this. We know how to make do, mend, and even tie together the loose ends to create safety nets for ourselves and those random beings who dare to cross our path. We also know how to turn an impossible situation into a crazy quilt that warms an entire community of loved ones. I am reminded of artist Magda Sayeg who went from being a single mother on welfare to being an entrepreneurial design maven with her knitted public works (aka guerrilla yarn bombing projects) under the studio name, Knitta, Please. In a recent article on Magda’s work in the Wall Street Journal, one is seduced by the power of crafting a path to a brighter future with a stockpile of pop art yarn and the conviction to subversively adorn just about everything labeled commonplace or inconsequential.

Textile scraps being handspun for knit couture by designer Zaida Adriana Goveo Balmaseda

Similarly, I admire how designer Zaida Adriana Goveo Balmaseda is currently scouring the floors of designer work rooms and studios for scraps of textiles that are being hand spun into knitted runway creations for The Green Fashion Competition at Amsterdam Fashion Week in late January.

 Handspun fiber is knitted and prepped  for the runway by Zaida Adriana Goveo Balmaseda

Zaida shared some of the following sentiments with us regarding her resourceful process and intention:

“Through my work I intend to encourage and engage people to use craft for solutions, and for my current project we are recycling studio textile waste. I discovered the spinning process while researching recycled yarns, and given that I was not really satisfied with my finds, I wanted to work with a fiber that I had complete control over and that would positively impact my surroundings, including the people I know. Spinning yarn can be done with a very simple tool, and many people can participate in the transformation of this raw material. In just one week I taught my grandparents, brother, sister, and mother how to spin. We are creating and sharing stories together, and it has been incredibly rewarding to see everyone cooperating and enthusiastically wanting to learn a new skill. Each skein is unique, just like its spinner and the runway garments that we are knitting as well.”

Recycled fiber forms by Abigail Doan include street flotsam and recycled textiles

In regards to my own work, the challenges that interest me the most are those where seemingly complex situations might be untangled and plied into revitalized objects of texture and hue. In preparation for Vogue Knitting Live‘s curated fiber gallery this next week, I have been creating sculptural fiber forms, some of which include “Plarn” or recycled plastic bag yarn created by a Roma woman named Abibe in Eastern Bulgaria. I was introduced to Abibe by my friend Charity Wright, who is currently working as an educator and sustainable business consultant while in the Peace Corps in Malko Turnovo. This historic border town at the gateway to Turkey has a history of traditional textile weaving as well as organic wool production from the flocks that roam freely in the Strandja Mountains. I welcomed this introduction to Abibe, as she was some one who had never worked with recycled materials for an art installation but had instinctively been repurposing items in her own home for a recycled plastics and crocheted eco-accessory collection. Through the bridge that Charity helped to build with this self-taught artist, my most recent fiber forms have even more layered meaning and a connection to the lifecycle of Abibe’s household.

Artist Abibe of Shau New Light, proudly shows off her recycled accessories in Bulgaria

It is interesting to think about fashion as something that connects us to those fibers that transgress borders, trends, and in turn might even redefine who we are dressing up for. It has been eye-opening for me to create my latest work with input from some one who has never traveled out of Bulgaria or visited my distant home, but definitely shares the same worries and concerns as a mother and artist trying to carve out time for herself. I will be so honored to present this effort to the public in New York City next week.

Judith Scott’s fiber sculpture crafted out of recycled textiles and found broken objects

I am reminded also of the fiber artist Judith Scott who was institutionalized for more than thirty-five years for being profoundly “retarded” with Down Syndrome. It was not until Judith’s twin sister Joyce was finally reunited with her, that the threads of this story unraveled. Celebrated in her later years as being one of the most powerful textile artists of this century, Judith Scott is still considered by some to be an “outsider artist” who operated at the far frontier of contemporary craft. Scott’s sculptural forms, created out of artfully wound scrap fiber and broken objects that had been blatantly dismissed, make her pieces ones that rival many of today’s upcycling expressions. Which begs me to ask, whether the plying of the marginal and disenfranchised with our current ideas about what is fashionable might finally redefine the edginess that we are so desperately hoping to occupy? I say, let’s work to ply a more fashionable frontier for all.

lead image: Jazmin Berakha

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Green is a complex issue as illustrated in this new textile exhibition in Washington, D.C.

There is no doubt that new directions in fiber and textile art are influencing the recent crafting and handwork surge in contemporary fashion. Makers are always swapping ideas between the realms of art and design, so it is inevitable that a collective unconscious of sorts permeates shifting style and color trends. The Textile Museum in Washington, D.C. is on to this creative phenomenon with their latest exhibition, Green: The Color and the Cause, on view through September 11, 2011. This call-to-artists showcase features a diverse spectrum of wall pieces, sculpture, and site-specific projects — all celebrating the role of green as an influencer of rising eco-consciousness as well as a hue that is evocative of change.

Green: The Color and the Cause has unified artists from diverse backgrounds and disciplines in conjunction with thirteen textile examples of historical precedents from the museum’s own extensive collection. To assemble the group of artists represented, The Textile Museum issued a call for entry to contemporary fiber artists across the country and around the globe. Exhibition co-curators Rebecca A.T. Stevens and Lee Talbot reviewed more than 1,000 works of art submitted by nearly 300 artists. From this group, the co- curators selected 32 contemporary artists—representing 18 U.S. states and 6 countries—to participate in the exhibition.

A Woman of Substance basket coiled from discarded silk blouses by Jackie Abrams (photo: Liz LaVorgna)

Materials and methods featured include the innovative recycling of household textiles and threads, sewing and embroidery, cast papermaking, green typography, as well as a lace vegetation arbor. Several of the show’s pieces reference craft and women’s work as an indicator that the resourceful use of fabric and cloth bits has always been a natural expression of green as an eco-friendly studio methodology. As an environmental fiber artist, I would never make the claim that women are crafters first and environmentalists second just because they opt to pick up a needle to get the job done. What I do know, is that crafting a green vision is a total process and something that flows between the head and the hands with some serious input from the heart.

Hand-sewn and hand-embroidered ‘Swing Coat’ by Alabama Chanin

Some of my favorite artists and crafters are featured in this exhibit, and one of the most intriguing observations made by designer Natalie Chanin is the irony that true green dye is not any easy thing to produce naturally. “Despite the prevalence of green in nature, no single plant produces a color-fast, deep green dye. Until the invention of synthetic dyes in the nineteenth century, people around the world typically combined indigo blue with various yellow dyes to create green textiles.”

Chanin’s contribution to the show is a show stopping cotton jersey ‘Swing Coat’ hand-sewn and hand-embroidered by her team at Alabama Chanin. As the exhibition’s curators highlighted: “Incorporating organic and repurposed materials, Alabama Chanin garments are hand-sewn using traditional quilting and stitching techniques by women who live and work near Florence, Alabama. These women, ranging in age from their 20’s to their 70’s, work together in circles reminiscent of quilting bees to create socially and environmentally responsible fashions.”

Treatment?, 2009, hand-painted silk quilt by Linda Gass

The subversive quilting spirit is alive and well in Green: The Color and the Cause, as illustrated by the work of Linda Gass. Her quilted reproduction of an aerial photograph of a water treatment plant on the San Francisco Bay, calls our attention to “the engineering wonders that have made contemporary lifestyles possible, but also questions the wisdom of our long-term strategies for sustainable development.”

Estuary: Moods and Modes, 2007, Nancy Cohen (photo: Ed Fausty)

Nancy Cohen’s handmade abaca paper sculpture of the ecosystem of coastal New Jersey emulates the ebb and flow of the artist’s study of the New Jersey Pine Barrens ecosystem—a million-acre tract of largely undeveloped land in the nation’s most densely populated state. Her wild topographical melding of marsh grasses and cast paper is perhaps a more revealing way of conducting an environmental impact study while also creating allure with undulating folds.

Arbor Lace, 2002-2011, live vegetation installation by Michele Brody

One of my personal favorites is artist friend Michele Brody’s Arbor Lace (2002-2011) project, an outdoor installation assembled out of synthetic lace, grass seeds, copper pipe and water. Brody has been working with live vegetation in sculpture before green design or eco art became trendy, and her site-specific projects create structures, which she calls “passageways,” for both rural and urban dwellers. The grass seed planted in the arbor will sprout, grow, and die in approximately six weeks time. New seed will then be planted and the cycle will begin anew. You can watch the seeds grow over time at the following link. Brody’s work is the perfect metaphor for understanding the life cycle of textiles and the precious resources required to sustain life and beauty as we desire it.

Gyöngy Laky’s ALTERATIONS,  featured on the cover of the New York Times magazine in spring 2008

There is so much visual fodder in Green: The Color and the Cause that the exhibition is obviously something to be experienced more than described. As a participant, celebrated artist Gyöngy Laky humbly shared, “I am interested in making a small dent in changing attitudes about the environment and our relationship to it.”

Detail of Gyöngy Laky’s sculptural typography work

Green as a color and marketing phenomenon is increasingly a part of our daily lives, but for me, the transformative aspect of this hue is the fact that it’s deep range urges us to see green in those things that also lie at the other end of the spectrum. Craft, innovation, and renewal is often about taking something seemingly mundane and transforming it into something life supporting and wildly complex. No formula exists and no pattern need be duplicated.

Green: the Color and the Cause is co-curated by Lee Talbot, Associate Curator, Eastern Hemisphere Collections, and Rebecca A.T. Stevens, Consulting Curator, Contemporary Textiles. The exhibition will be on view at The Textile Museum April 16 through September 11, 2011.

image: “Hothouse Flowers” by Maggy Rozycki Hiltner via The Textile Museum

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Joetta Maue’s keen eye for appreciating often overlooked moments, is inspiration for her art.

Joetta Maue’s use of daily life as the main subject of her drawings, fiber art and photography comes from her desire to be true to her “Emotions, insecurities, strengths, and intelligence without fear of ridicule or censure from a patriarchal society.”

Maue says: “I am not an extraordinary woman. I do not live under extraordinary circumstances. I am a woman who has both flaws and fears and also strengths and hopes.  Through the depiction of these characteristics, I invite the viewer to relate to and connect with the work, the artist, and the subject of human experience.”

We think you should follow her lead.

Look for Lustables daily at EcoSalon. 100% gorgeous green finds, and never sponsored. Submit your favorite to tips@ecosalon.com

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