Susan Lapham: Studio Tour and More

 

Susan Lapham, I Heart My Brothers
2021, 40"x40"

Susan Lapham lives in Virginia, summers in Cape Breton, and has chosen Atlantic Canada as her secondary SAQA region.    

Her contemporary quilts have been described as a lively dance between steady geometry and sparkling movement. Her work has been exhibited in Form, Not Function; Quilts=Art=Quilts; Visions Art Museum; and Quilt National.  Her award winning Playland series has received Best of Show, First Place, and Piecing Awards.  

Playland 1, 2020, 83"x82"

Born in Jerusalem, Susan lived in the Middle East and North Africa for the first 12 years of her life. Her degrees in Cartography and Survey Statistics led her to work in the US government and non-profit organizations as a mapmaker, statistician, manager and senior executive for nearly 40 years. She is currently Principal Investigator on US National Institutes for Health grants focusing on behavioral health and is Director of a sixty-year longitudinal study of human development and aging.

Along the way, she taught herself to quilt and obviously brings the same level of energy and discipline to her art.  When I asked Susan about artists who have inspired her work, her list included the Spanish sculptor Eduardo Chillida, the Lebanese painter Saloua Raouda Choucair,  and the Americans Karl Benjamin and Frank Stella.   All of them are characterized by clean lines and bold use of colour.

Susan, could you describe your workspace?

My studio is a 24 by 40 foot addition at the back of our house overlooking our woods and garden.  It is open and airy with lots of room to breathe. My design wall takes up one whole wall plus half of another – a total of about 38 feet by 8 feet tall. The room is empty except for the design wall, my sewing machine, and two large cutting tables forming an “L” in the middle of the room. I love spending time in the studio and find that I can be as creative as my imagination allows because there are no distractions.

It seems very well-lit. What are the light sources?

I have five large floor to ceiling windows and six skylights that let in a lot of natural light.  There are 12 8-foot LED lights mounted on the ceiling which provide additional light on grey days.  I also have Ott Creative Curve lamps beside my sewing machine and on the cutting table.  

Where do you keep your fabrics and threads?

 I don’t keep a lot of fabric – just enough to keep creating.  Yardage is kept in a dark closet on open shelves organized by value and color. Scraps are kept in 3 baskets, also organized by color and value. I keep a small bin of leftover bits and units from previous pieces, and turn to it to start each subsequent project. If I need a small piece of fabric I’ll use my unsewn scraps next and only go to my yardage if I need a big chunk.

I bag the tiniest scraps for a friend to make dog beds or for garden mulch - nothing wasted!

I only keep a few spools of thread (Superior) which are organized on a rack on the wall. My philosophy is if I don’t use something for a year, it is donated, gifted or recycled. 

Aside from the emptiness, which is rather unusual for a quilter, are there other unique features?

One unusual aspect is that my husband does all my quilting on his long arm machine. He has his own space at the other end of the house so when I have a top ready for him to quilt, I just walk downstairs and hand it over to him. I am more than blessed with this arrangement!

Another great aspect of my studio is that I can easily take it on the road – literally! 

Every summer for the past couple of decades, my husband and I hop into the RV and head to Cape Breton where we spend several weeks at Broad Cove campground. I use the same portable sew easy table that I use in my home studio and bring the five small baskets of fabric scraps that I use daily. Since I’m a minimalist it’s easy to schlep my tools back and forth. As I can’t bring the huge design wall, I work on smaller pieces or I hang a sheet on the clothesline and just deal with the constant breeze.

I can also dye fabric there which I don’t often do at home. I actually learned to dye from Anne Schroeder, another Cape Breton artist, several years ago.

Susan's portable studio...

Does it make a difference if you are in open or cluttered space?

...and her outdoor studio

Being a minimalist at heart I’m most creative when I have no distractions. Complete silence (except for the birds, the whisper of trees, and ocean waves) and no visual distractions. So definitely no clutter, just a lot of space.  I only have out what I need when I need it and tend to tidy up before moving on to a new task.  

You mentioned that it's easy to bring your studio, but what about favourite gadgets?

I’m not really a gadget person. I have a simple straight stitch sewing machine and the tools I use can easily fit into one glass jelly jar that includes a seam ripper, Karen K Buckley perfect scissors, a pair of large scissors, paper scissors, tweezers, hera tool and "that purple thang" (a sort of stiletto). I have a second glass jelly jar that includes the tools I need for the sewing machine – brush, screwdriver, oil, machine needles, pipe cleaner, walking foot and quarter inch foot.

Except for rotary cutters that are on the portable cutting tables, and a couple of rulers that I mostly use for trimming up finished quilts, I don’t keep much else. My goal is to keep the studio and my studio practice as minimal as possible.  

Going back to your main studio, what does having this workspace mean for your processes, and how do you make the space work for you?

I love my studio and spend every possible moment I can in it! Having lots of space to move around, large cutting tables and a huge design wall give me the freedom I need to translate what’s in my head to fabric. Being a minimalist and staying organized allows me to be efficient which helps with deadlines!

If you had the chance, what change would make it your ultimate creative space?

Taller design walls. I tend to work very large – 8 feet by 8 feet.  I would love to work bigger at some point but my design walls are currently 8 feet tall so it would be hard to create something larger.

Is there a project that you’re currently working on, or are excited about starting that you can tell us about? 

While I love working with tiny bits of fabric to build enormous pieces, I also love spare work. I’m experimenting with some spare pieces and am excited to see where I can go with them.  

Clothesline design wall 

More of Susan's work can be seen on her website at susanjlapham.net

Her husband, John Tsiaperas, who does the longarm quilting of her quilts, can be found here.

Her quilt, "I Heart My Brothers" at the beginning of this post, can be seen soon at the Material III exhibition at the D'Art Centre in Norfolk Virgina.

Another quilt in her Oh Brother series, "David", can be seen as part of the SAQA Commotion exhibit in Atlantic Canada (stay tuned for dates of two venues in Nova Scotia this summer).

Playland #3, above, won the 2nd Place Award of Excellence at Form Not Function 2020 and Best of Show at Out of the Funk (Fiberarts Guild of Pittsburgh). 

Susan Lilley: Geometrics (bound and unbound)

 

Geometrics 29: Power Lines
Susan Lilley, 2021 30"x30"

Susan Lilley’s solo show, Geometrics (bound and unbound) opens October 8 at the Chester Art Center.  The exhibition is of a series of work created over the last two years.

Now a resident of Lunenburg County, Nova Scotia, Susan was born in Quebec amidst a family of artists.  Although her art classes began at a very early age, it was only after a 30 year career in public health that she returned to art-making.

In 2010, Susan completed the City and Guilds of London Level 3 Certificate in Design and Craft. She is currently an active member of the Textile Artists Collective, the Lunenburg Art Society and SAQA Atlantic Canada.  

Susan has exhibited her work in numerous local, regional, national and international exhibitions. Geometrics (bound and unbound) is her third solo show.

Geometrics 2  Susan Lilley  2019 12"x12"

Q:   Susan, how would you describe your work?

My work is non-representational. I use strong colours and my own hand-dyed, repurposed fabrics, often featuring shibori or surface-design techniques. 

In my latest collection, Geometrics, all 30+ pieces were composed of strips of brightly-coloured fabric over-dyed in black to create bold, repeated, geometric patterns. I prepared the cotton for the black dyebath using a shibori technique called itajime, which involves folding the fabric, adding resists and using clamps to hold it all together, thus preventing dye penetration and creating the pattern. 

Q: What prompted you to choose this particular technique for your series?

Itajime both fascinates and challenges me. I’m drawn to it for several reasons: the “glow” effect of the blurred dye lines, the contrast of order with imperfection, and my inability to control the outcomes. Relinquishing control in this way, I, myself, am unbound. 

Traditionally, itajime involves only a single dye bath, often indigo or brown, leaving white patterning. I spent a couple of years previously experimenting with a more complex approach, layering colour over colour and pattern over pattern with multiple rounds of folding and dyeing. While I was able to make a few exciting pieces, I was more often disappointed with my results. 

This current series began as a way to become more skilled at itajime by simplifying my process: making many small studies, using narrow strips and a single colour (+black). I was also hoping to become more fluid and relaxed in my work and to develop my own style of itajime.

Geometrics 19  2021 12"x12"

Q: Had you worked in series before, and if so, how was this series different for you?

In the past, I generally made a few pieces expressing the same idea in different ways, but this is the first time I've intentionally set out to create a series. My plan at the outset was to make 20-25 small (12”x12”) studies, followed by a few larger pieces, an idea suggested by Cape Breton artist and friend Helene Blanchet.

Making so many small studies, guided by a few simple rules, was surprisingly both liberating and addictive. I approached each new piece knowing it didn’t have to be perfect, so I could relax and let go. And each completed study left me with a head full of “what ifs”, compelling me to go on to make another.

Geometrics 22 Susan Lilley 2021 12"x12"

Q:  Do you see this body of work as a departure from your earlier work?

I think this collection builds quite naturally on my previous work. The departure, in my mind, is the long-term commitment to developing a specific idea. During this two-year journey I have surpassed my initial goals and discovered my own unique approach to itajime.

Q:   Do you have plans for your work for the coming year? 

Itajime still fascinates me. I’ve not yet decided what my next challenge will be but I expect to use a similar, experimental approach, probably involving multiple colours and dyebaths. 

Geometrics 28: Spirit Ways 30"x30" 2021

Q: In addition to the show in Chester, where else can your work be seen?

I’m hoping to hang some of this work in the Bridgewater branch of the South Shore Public Libraries next winter. I generally have a piece or two hanging at the Lunenburg Art Gallery, changing every month from May to October. I also have two pieces in the SAQA Atlantic juried show, Commotions, which will be travelling around Atlantic Canada in the next year. And for those outside the region, I’ve recently taken to sharing my work on Instagram.

Geometrics 30: Making Do 2021 34"x39"

Susan's show, Geometrics (bound and unbound), opens with a reception from 5-7pm on Friday October 8th at the Chester Art Centre in Chester NS. The show runs until October 28th, however, gallery hours vary considerably from one day to the next:  

October 9,10,15,17,21,28 - Gallery open from 10am-4pm

October 14,16,20,22,23,24,27 - Gallery open from 5-7pm

The Gallery may be open at other times by chance or appointment. Contact Chester Art Centre at 902-275-5789 or info@chesterartcentre.ca before setting out.

Cathy Drummond interview: From watercolour to textiles

Where Land Meets Sea by Cathy Drummond
(2019) w24xh18"

Cathy Drummond is a textile artist who lives on an island in Mahone Bay, Nova Scotia. She’s also an accomplished watercolour/mixed-media painter who, years ago, won a national competition to paint portraits of Canadian Forces women involved in NATO war exercises. Her artwork is now in the collection of the Canadian War Museum.

More recently, after a demanding career in the federal public service, Cathy was reborn as a textile artist.

Cathy Drummond is a member of Studio Art Quilt Associates (SAQA) and the Textile Artists Cooperative. She is also a member and former president of the Mahone Bay Quilters Guild and a writer for the SAQA Atlantic blog. Cathy has exhibited in juried shows throughout Atlantic Canada and internationally.

In this feature interview, Cathy tells us about her artistic journey.

Cathy, how would you describe your work?

My work is representational, often of landscapes. It varies in style from fairly realistic to loosely impressionistic, depending on the subject matter and the mood I want to convey. Increasingly, the painting skills I developed long ago are appearing in my quilts, adding another dimension to my artwork.

Describe your journey towards becoming an artist who works with textiles. 

I had always painted. I began selling my watercolour and mixed media work in 1979, which led to a series of commissions. All that came to an end, though, when I joined the federal public service and found I had little time to paint.

Around the time of my retirement, I came across an exhibition of Laurie Swim’s textile artwork and experienced a eureka moment. I was fascinated by the richness and depth of colour possible with textiles and I had always sewn, so it seemed like a perfect fit. Laurie’s wonderful work inspired me to learn to quilt.

My Garden by the Sea
by Cathy Drummond (2020) 10" x10"

How has your life/upbringing influenced your work?

I was extremely shy as a small child and spent much time with my mother and grandmothers, who were all creative in their own ways. Though my mother and maternal grandmother both had careers, they also painted and were highly skilled at needlework. My other grandmother was a wonderful gardener. She took me on backroad journeys in the woods or on the shore. My father was the ultimate over-achiever, and all four role-models taught me not to give up on anything I start. That helps a lot when the creative process leaves me discouraged, as it sometimes does.

On Helen’s Walk, by Cathy Drummond
(2020) 12"x12" 

Tell us about your process for creating. Where do you find your inspiration and how do you get from that to a final product?

Most of my inspiration comes from nature -- the views out my window, the changing seasons and colours of the ocean and the woods. I usually work from a photograph I’ve taken, although sometimes I work from memory or invent a scene to convey a mood.

My process is continually evolving. At first, I used commercial fabrics and believed that using paint on quilts would be cheating. I worked studiously from a sketch or directly from a photo, and I built the scene from the top down. Now, I’m using much more hand-dyed, repurposed fabric and I’ve recently begun to paint my scene on plain cloth, building from there in any direction that appeals to me.

What was your experience in moving your watercolour skills to textiles?

Boys Love Mud by Cathy Drummond (2012)
w24" x h30"

Boys Love Mud was the first quilt I painted on. I turned to watercolour when I didn’t have the fabrics I needed to get the sky and faces right. Initially, I was concerned that the colour would fade or run, but I’ve since learned that after it has dried and been pressed with a hot iron, watercolour is fairly permanent on cotton fabric.

I have now experimented with various products and frequently use fabric paint, which I did, for example, to create the water in Hurricane. Fabric paint, like all acrylics, dries fast and stiffens the cloth if applied directly. What works well for me is to dilute the fabric paint and apply it to damp fabric. This way, the colours are absorbed into the cloth rather than staying on the surface.

Hurricane by Cathy Drummond (2021) w30" x h25"

More recently, I’ve also been using Inktense pencils, which are great for strengthening a line or adding a bit more shadow. When they’re wet and applied with a brush they act like watercolour but produce a more intense colour.

Once I began to use paint on my quilts, I discovered that it’s neither cheating nor unusual. Mickey Lawler’s book Skydyes: A Visual Guide to Fabric Painting is a really good book on technique.

Peggy and Helen at Book Club
by Cathy Drummond (2019) w20" x h16”

Where can readers see your work this year?

I generally have a piece or two on show in the Lunenburg Art Gallery. My piece, Displaced, is travelling with the SAQA juried exhibition, Forced to Flee, currently in Minnesota.

I also have two pieces, Hurricane and A Commotion of Coots, travelling around Atlantic Canada until 2023 in the SAQA Atlantic juried exhibition, Commotion, dates TBA.

Salt Marsh Sunset by Cathy Drummond
 (2020) 12"x12"

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You can see more of Cathy Drummond’s textile artwork online on her Artwork Archive profile page.

Interview with Darcy Hunter: Inspired by Nature

Rose Cottage by Darcy Hunter 2019 10"w 8"h

Darcy Hunter is a fibre artist specializing in landscapes.  She established Darcy Doodle Quilts online on Etsy and Facebook in 2014.  Darcy then opened a shop at the Riverside Resort in Mactaquac where she shares the space with other artists. In winter 2017, her quilted postcards were featured in Art Quilting Studio and Sew Somerset magazines.  Her art quilts are featured in the 2019 spring and summer editions of Art Quilting Studio.

A part-time elementary teacher, Darcy further indulges her love of teaching by offering quilting classes and designing patterns of some of her creations.

Darcy, how would you describe your work?

I call my method "textile embroidery".  I use fabric like paint, laying it down piece by piece and adding stitching, as well as specialty yarns, beads, lace, shells, driftwood and other found objects.  I use the same methods to make journal covers and postcards in addition to art quilts.

Moonlit Sea by Darcy Hunter 2019 10"w 13"h

How did you come to be a fibre artist and what is your process for creating?

I began quilting 17 years ago to make quilts for my babies and gradually discovered how I could create art using fabric as a medium.  My work is greatly inspired by nature, sometimes by a walk in the forest or along the water, other times by a photograph. I also follow many fibre artists on Instagram and Pinterest; their art inspires me to create my own pieces and to try new techniques. 

My usual process is to begin with a pencil sketch of my idea and then add notes on possible methods and colours. I use unbleached denim as a base, adding pieces to each area, either stitching them on right away, or holding them in place with a little adhesive.  To add more texture, I use fabrics, lace, ribbons, upcycled sari strips and yarns.  I add a myriad of threads and sometimes paint.  At the end, finishing touches are done with beading, hand stitching, and found objects. 

Hanging might be done with a piece of driftwood, or the piece might be placed on a matt board and framed.

Winter Trail by Darcy Hunter 2019 16"w 20"h

  Do you work in a dedicated studio space?


When I became serious about my art work, we had the basement renovated and I now have a room there that I love.  I have a sit down mid arm (Husqvarna Platinum 15) as well as a regular sewing machine.  I love my mid arm; it is so much easier to see my work on it.  Plus, having it allows me to work on different things on each machine.

There are floor to ceiling Ikea cabinets, as well as lots of open storage, a good-sized ironing space and a large design wall.  My cutting table was created using a lovely old office desk, which we put on wheels to make it higher and moveable.
 
What are you currently working on?

It’s an 11 by 14 commission of a loon on North Lake in Maine where my client has a cottage.

What are your goals for the coming year?

I would like to work on some larger pieces than I have been doing.  I also want to respond to a call for entry.  

In addition, I’m working on developing a newsletter and a website.

Sheep Farm by Darcy Hunter 2018 20"w 18"h

Tell us about your most memorable experience as an artist.

I was contacted by the editors of Art Quilting Studio and Sew Somerset (Stampington magazines) in 2016.  They had found my work on Etsy, and asked me to send some of my quilted postcards to be published in their magazines.

 I was over the moon!

What fibre artists are you currently interested in?

Rachel Wright is my biggest inspiration.  She is from the UK and creates lovely landscapes.  I also really love the use of yarns, lace and paper by another UK artist, Isobel Moore. Susan Carlson is an expert in using colour in her work and I love her collage method of gluing pieces onto a base fabric.

Do you treat art like a job, going to the studio each day at a particular time?

When teaching, I am in my studio when I have spare time after work.  Otherwise, morning is my most productive time to work and I try to start then when I can.  I wake every morning with new ideas that I can’t wait to get out of my head and onto my palette!

Reflections by Darcy Hunter 2019 16"w 20"h

Darcy's work can be seen on Etsy at www.darcydoodlequilts.etsy.com, or on Instagram and Facebook (@darcydoodlequilts)

Her work is also available at her shop at Riverside Resort in Mactaquac, NB

She is part of the Etsy New Brunswick show in Fredericton each September, as well as at the Spring and Fall Capital Art Show in Fredericton.  She will be at the Renforth Artisan Market in St. John in the Spring (May 3) and Fall shows.

Elbow Valley by Darcy Hunter 2020  21"w 16"h

Please welcome Kristi Farrier: Our new Atlantic Region Representative to SAQA

Fibre artist Kristi Farrier will be replacing Regina Marzlin, our current regional rep, at the end of the month. Kristi came to Atlantic Canada just over two years ago to begin a new, more creative life in an old farmhouse in Middle River, Cape Breton (NS). “I’ve dreamed of a creative life involving textiles for a long time. I’m slowly making this life my reality; initially by happenstance but more and more by design”. 
(Read Kristi's article A Creative Life, by Happenstance or Design.)

Kristi’s artwork is a visual interpretation of life events, experiences and emotions. Most often abstract, her pieces feature graphic geometric shapes and grids.

When March Dreams of July (detail) by Kristi Farrier (2017)

Regina Marzlin, our rep and leader over the past three years, is moving on to new adventures in textile art. Thank you, Regina, for your constant support and energy. 

Here are Regina’s thoughts on her successor: 
"Kristi’s professional background will be a great asset in leading our group. She has a Masters degree in Public Administration and has worked with both government and non-profit groups on the municipal and federal levels, implementing programs, developing policy and doing research. 

In addition to art quilting, Kristi is passionate about making paper from flax and other natural fibres. Her enthusiasm for all things fibre art, together with the leadership skills she acquired in her past career are strong assets she brings to the art quilting community in Atlantic Canada. 

Kristi is eager to get to know as many Atlantic region SAQA members and prospective members as possible. Please support her as she takes on this new role. We thank Kristi for taking on this demanding volunteer position for our benefit."  

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Get to Know Kristi Farrier

Read our 2017 feature interview: Introducing….Kristi Farrier 

Follow Kristi on Instagram and on her blog, Mirth 365.

Read Kristi's article: A Creative life, by Happenstance or Design, on Anna Hergert’s blog.

Laureen van Lierop interview: Embracing her inner fool

Yellow Bowl (detail) by Laureen van Lierop (2017) w8" x h9" 

Laureen van Lierop is a multi-talented textile artist from Halifax, Nova Scotia. Her work reflects her sense of humour as well as her love of embroidery, nature and gardening. Laureen has a BA in dance from the University of Waterloo and is also an award-winning writer. 

Laureen’s first solo show was titled Nature and Nurture. She has contributed to the Nova Scotia textile art scene by curating or co-curating several exhibits, for example: Healing Gardens (2005), Talking Threads (2001) and Layered Intentions (2000). More recently, she played a lead role in organizing the latest SAQA retreat and has volunteered to organize next year’s event.

For over ten years Laureen has volunteered at Halifax’s Out of the Cold homeless shelter, one of her many non-textile volunteer activities.

How would you describe your textile work?

I create stitched pieces with embroidery, applique, beads and bits of lace, paper and found objects. My work tends to be small. Often it’s meant to drape against a wall. Other times, it’s three dimensional. Dolls, vessels and books are my favourite forms of this expression. As I work, I include some hints of a story, but I rarely work with explicit narrative subjects. 

My work hasn’t any political or social message. Instead, I search for the comical or whimsical. I believe that humour softens life’s blows, allowing difficult experiences to become a journey to better relationships.

Vine Girls by Laureen van Lierop (2015) w10" x h12" 

Describe your journey towards becoming an artist who works with textiles. 

I learned embroidery as a four-year-old from my paternal Oma, who was a Master Embroiderer in Holland. Stitching later took a back seat as I expressed my creativity through dance and floral arranging. Eventually, seeking a creative outlet as a young mother, I moved back into textiles.

It began with a small cabinet of outgrown children’s clothing. I sat on the nearby stairs to stitch while my two young children were in the bathtub. That worked out well, the light was good and I was close enough to hear what was going on in the tub.

I joined quilt guilds but never felt quite at home there. My work evolved differently. Even my vocabulary of techniques became different. So nearly 20 years ago I was involved in starting a group originally called the Fibre Arts Collective (now unofficially known as the Quilt Mafia). I also began curating, as a means of creating opportunities for diverse textile artwork to be shown. 

Since 2014, I’ve been following contemporary embroiderer Karen Ruane’s online courses. Karen has opened a huge door for me and has had a major influence on my stitch vocabulary, composition, texture and titivation.

Tell us about your process for creating. Where do you find your inspiration and how do you get from that to a final product?

My work is inspired by my love of flowers, nature and gardening. I have 10 years of my own sketches for inspiration.

But each piece really begins with colour. Whether I’m working on a piece for the wall, a doll or a book, I choose a group of colours that appeal and create a huge pile of various materials that might work. I walk around it for days or weeks until I get an urge to edit to a smaller pile (and repeat). When the collection feels more manageable, I put the materials into a nice basket or container and let it simmer, often looking through my sketchbooks for ideas. Sooner or later I pick up a needle and get stitching, often starting with a curved line or two, and then working as the spirit moves me. I enjoy the controlled chaos of the creative process and welcome an unexpected left turn. If I get too intellectual or intentional the work begins to tighten and feel wrong.

Path One by Laureen van Lierop (2017) w11" x h"7 

Do you have a studio, or do you work wherever you can find a spot? 

I’ve always worked wherever I could find a spot: the stairway, the space in front of the washing machine, our bedroom. One day I realized the family room was no longer being used by anyone and I seized it. At last I have a studio! My worktable sits by a beautiful north-facing window overlooking the garden. I adore it.

What are you currently working on and why?

Lately I’ve been embroidering little narrative sketches onto hankies. I’ve always avoided explicit narrative, but as my writing skills improve, my urge to do little stories is increasing.

I also have two other things going right now. One is a stitch response to rose-hips and mountain ash berries squished onto a piece of old cotton; the other, blue hydrangeas pounded into paper.

How has your life path influenced your work?

My BA in dance is a major influence. Good choreography and theatre staging, and the history of theatre and costume design are all in the back of my mind as I fool around.

And my husband, Steve Mannell, keeps my work clear and real. He’s a constant source of inspiration, education and clarification. His brain is crisp and engaged. He helps me clarify my intention, work out my composition, clear out the detritus and know when my idea is done. 

String of spring by Laureen van Lierop (2018) h4" x 4' long

Where can your work be seen?

I try to post every completed work on my blog and on Instagram. I show whenever I can wiggle into an exhibition. I recently joined the Textile Artist Collective and rejoined SAQA to participate in group exhibits. One goal for this winter is to create a gallery page with prices attached. 

Who have been your major influences and how?

Georg Balanchine, a Russian ballet choreographer looms large. In 1967, he created Jewels, a suite of four highly technical dance solos, each a very pure interpretation of the music. His goal was beauty for beauty’s sake, without emotion or narrative. That has permitted me to create work that has no political, social or environmental commentary. The world needs resting spots and I attempt to provide a quiet place to do more than survive in.

Path Two by Laureen van Lierop (2018) w13" x h23" 

What fibre artists are you currently interested in, and why?

I really like Michelle Kingdom and Tilleke Schwarz. Both are masters of narrative stitching, but with very different themes, using different techniques. 

Closer to home, I’m also inspired by visual artist Alex Schofield, a good friend and neighbour. Her work, process and intellectual rationale are refreshing and energizing for me. 

Do you engage in other artistic or creative endeavors?

Writing is a big part of my life. I write poetry and children’s stories. I also produce a comic book, Hot Flash Woman, about the zany adventures of Hot Flash Woman and her side kick, Steamy, as they encounter oppression and struggle with menopausal hot flashes.  

My most memorable experience as an artist was winning the Joyce Barkhouse Award for unpublished children’s writing. Reading the first chapter of my book, Beach Meadow Friends, to a large audience at the awards ceremony was a fabulous experience!

Vessel One by Laureen van Lierop (2015) w4.5" x h11" 

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You can read more about SAQA artist Laureen van Lierop on her blog, Laureen van Lierop. Follow Laureen on Instagram.

Kathy Tidswell Interview: Painter, Quilter, Teacher

Transitions II by Kathy Tidswell (2017) w22” x h34”

Kathy Tidswell is a New Brunswick fibre artist and teacher, well-known for her thread-painted pieces, quilted wall hangings and wearable art. Kathy’s work has been widely published within Canada and beyond. She has taught at five Quilt Canada conferences and is a recipient of the Canadian Quilters’ Association Teacher of the Year Award.

Kathy’s wearable art has earned an Award of Excellence and an Honourable Mention at CQA National Juried Shows. Her wall quilts have made it into The Grand National Juried Quilt Exhibitions, CQA National Juried Shows, SAQA regional juried shows and the Contemporary Canadian Art Quilts Exhibition. Her thread paintings have hung in solo and group exhibitions including Threadworks 2010 and 2013.

Kathy Tidswell sells her work from her home studio and gallery in Burtts Corner NB. 

How would you describe your work?

My work is usually realistic. Whether it’s a small thread painting or a larger wall quilt, you can generally see the influence of nature. 

Much of my work begins with my own painting on fabric which I then enhance with thread painting. Sometimes I work with commercial fabric to create wall quilts but even those often include some of my own painted fabric as well. 

Winter by Kathy Tidswell (2008) w 20.5” x h 24.5”

Describe your journey towards becoming an artist who works with textiles. 

My mother and both grandmothers were embroiders, quilters, rug hookers and crocheters, and taught me all these skills as a child. As a young adult, I had a career in forest genetics with the Canadian Forestry Service. That experience and my scientific background may account for some of my attention to detail and my interest in depicting trees. 

Later, as a stay-at-home mom, I made two quilts for my daughter’s bunkbeds. Soon after, I joined the Fredericton Quilters’ Guild and attended a workshop taught by Anne Boyce, who taught me to use the sewing machine for appliqué and quilting. Around the same time I saw a booklet entitled Thread Painting, by Liz Hubbard. It had beautiful British gardens and cottages done with free-motion embroidery over a painted background. I was hooked!

I took drawing, watercolour and oil painting lessons to better my skills for painting the backgrounds. I worked on my free-motion embroidery skills. And since most of this stitched-over-painted-fabric work came from the UK, I combined a visit to see my daughter with a 4-day course with teacher Allison Holt in Wales. Gradually, I began to develop my own style and approach.

Wearable art by Kathy Tidswell (2017) 

Tell us about your process for creating. Where do you find your inspiration and how do you get from that to a final product?

My inspiration generally comes from nature. I get ideas for the painted backgrounds from photographs. If I’m working on a wall quilt for a competition I often muse over the theme for a long time and draw up several different ideas before I begin. 

Working from my photograph, I make a detailed drawing on paper and then trace it onto white cotton fabric. Next, I paint the background using Pebeo Setacolor. The painting may take two or three sittings to complete. 

When I’m happy with the painting, I add texture and bring it to life with free-motion embroidery. I enhance perspective by leaving a painted area in the distance unstitched. Moving into the foreground, the stitching becomes progressively brighter, larger and more detailed. I sometimes create a 3-D effect by attaching appliqués of birds or flowers that I make entirely from thread, using free-motion zigzag stitching.

Great Blue Heron by Kathy Tidswell (2016) w15” x h17”

Do you have a studio, or do you work wherever you can find a spot?  

My studio is a second-storey porch addition built by my husband. It’s lovely and bright with windows on three sides, but it’s small, so my work has spread throughout the house. My threads and smaller pieces of fabric are stored in a chest in the hallway just outside the studio. I’ve taken over a bedroom for cutting; the kitchen table is where I tend to do the painting. I also have a teaching studio and gallery on the ground floor. The only thing missing is a permanent design wall.

What are you currently working on and why?

Just now, I’m working on a black and white portrait of my grandmother. I’ve been wanting to make it ever since I found a photo of her a couple of years ago. I’m hoping to use the portrait as my entry for the upcoming Grand National exhibition, themed Still.

Do you teach or have a business of your artwork?

I split my time between teaching, creating wall quilts for competitions and producing thread paintings, which I sell at craft shows. Teaching has been a big part of my life for over 20 years. I have a small teaching studio in my home and offer classes in a variety of techniques, including thread painting, machine appliqué, using paints on fabric, creating 3-D thread appliques and using Inktense pencils to create appliqués.

One of the most exciting moments in my career was when I first got word that I’d been accepted to teach at the Quilt Canada conference, which was in Toronto in 2000. That was outdone only when I received the Canadian Quilters’ Association Teacher of the Year award five years later.

I’ve taught and delivered slide/trunk presentations at five Quilt Canada conferences and for guilds and shops in almost every province. I’ve taught twice in Luxembourg and have three presentations scheduled for this fall in the UK. 

My teaching experiences in Luxembourg began with enquiries I made at a quilting and craft shop I came across while visiting that country. Lynne Edwards, a teacher and friend from the UK, once told me that whenever she travels she notifies groups in the vicinity that she will be available for teaching. I’ve since adopted her philosophy. 

When planning an upcoming visit with my daughter, I obtained a list of quilting and embroidery groups from British organizers and contacted several around Portsmouth (England), telling them when I expected to be in the area. This resulted in the three slide/trunk shows I have scheduled there this fall.

Splendour of the Caribbean by Kathy Tidswell (2013) w18.5” x  h14.5”

How do you show and sell your work? Where can it be seen?

Currently, (August 3- October 9, 2018) my work can be seen in a solo exhibition entitled Nature’s Thread 2018 at the Charlotte Street Arts Centre in Fredericton NB.

A selection of my work will be for sale at a Christmas market with the Fibre Arts Network group (FAN) on November 10, 2018 at the Knights of Columbus Hall in Fredericton.

And my thread paintings can be seen by chance or appointment at my home studio and gallery in Burtts Corner NB.

Recently, while serving a one-week artist residency in Fredericton’s historic Garrison District, I was interviewed by Mark Kilfoil of CHSR radio. The interview can be heard as a podcast until early September at CHSR-FM 97.9 | The Lunchbox Interview/ Kathy Tidswell (Fibre Artist).

What are your goals for the coming year?

My goal is to enjoy the process more, without worrying so much about perfection. I often get too intense over a piece, especially if it’s for a competition. I hope to develop a more relaxed way of working and to just wait and see how the piece turns out.  

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You can read more about Kathy Tidswell and her artwork on her website Kathy Tidswell Fibre Artist.

As Day Ebbs by Kathy Tidswell (2014) w20” x h31”