Christian Tagliavini

Amazed wonderment about these 1503 Series photographs by Christian Tagliavini (studiojudith). At first, I thought they were computer-manipulated photographs, but they are carefully crafted portraits of live models wearing die-cuts of what seems to be a combination of fabric and/or paper-backed or stiffened fabric (Correction here: I thought the very long necks on some of the models were post-photo computer manipulation, but Christian explains in the comment below that while Photoshop was utilized for certain atmospheric effects, the long necks are a result of an illusion).

More wonderment at these photographs, a 2008 series called Dame di Cartone (Cardboard Ladies). Kind of like real people paper dolls, yes?

There is a Casting Call on his site, where you can apply to be one of his models. FYI, he's looking for "great character" and perhaps an "element of surprise". I wonder if you might get a flight to Switzerland if you are chosen?

Christian Tagliavini:
"I start with the idea, then I search someone to impersonate it. I build up stories and dramatize them using photography and creativity as a skillful artifice being at the same time author, stage designer, costume designer, casting manager, director and photographer."

Napkins

This work is part of a room-sized installation of 565 drawings of pen-and-ink flowers on paper napkins by artist Jim Hodges. Hodges explores universal themes, and in this piece, "A Diary of Flowers - Above the Clouds" a correlation is made between the ephemeral nature of the flowers and the material they are drawn on. The 100 napkins in this piece are pinned onto the wall. "A Diary of Flowers", completed in 1995, is now part of the collection of
The Museum of Contemporary Art, Los Angeles.



More drawing on napkins from "The Napkin Dad Daily" blog. He started drawing on napkins for his daughters' lunch bags and did these daily until his last daughter graduated from high school in 2005. That first year, he thought all the drawings were thrown out at the end of the lunch period, but for Father's Day his daughter presented him with all the napkins he had drawn for her as a gift. What a sweet story! And how dedicated is that?

I am more prone to obsessively twisting and folding napkins than drawing on them.
When I was younger and holiday meals were hosted by my mother and grandmother, I was the one in charge of setting the table. I often took great pleasure in lining up the plates and silverware, placing the goblets and stemware, selecting candles and making centerpieces, and rolling the napkins into holders or folding them in different configurations. My mother has a buffet with stacks of cloth napkins in different colors and fabrics to choose from, and a wide selection of tablecloths, all ironed and folded and organized just so. Nowadays I am either a guest at a gathering that uses paper plates and napkins, or I am elbow deep in meal preparation and the table gets a last minute frenzied setting as the potatoes are getting mashed or the turkey sliced. I'm thinking about napkins today, though.
I think I once had a tiny little paperback book with diagrams of napkin folds, but haven't seen it for years. There are, though, plenty of sites that have instructions for fancy napkin folds ... like the Water Lily/Rosebud, Bird of Paradise, and Bishop's Hat instructions at The Butler's Guild. (Really?) Martha's site has some simple and elegant napkin folds featured. Happy Thanksgiving!

Eugene Andolsek

Eugene Andolsek (1921-2008) was an outsider artist who had a secret life creating complex drawings (American Primitive Gallery) ... using graph paper, a compass and a straight edge, and colored inks to create these pieces which never saw the light of day ... he made thousands of them, and they were hidden away and never displayed or shown to anyone until they were discovered by a caregiver when his health was failing. The drawings - highly patterned, kaleidoscopic creations - were a coping mechanism, and he never considered them to be art. An excerpt of an article by Tom Patterson at Raw Vision notes that the patterns his mother stitched into quilts and crocheted piecework were influences on the drawings he later made. They are rather like mandalas, and I can see how creating them would have been a meditative and calming process. And some of them make me want to play the most beautiful game of parcheesi ever.

Turn Around

10.10.10

Rag and Bone

One of my favorite blogs for seeing a vast variety of art and artists in paper and book arts is Rag and Bone. Some things that caught my eye on this visit:
Folded "word" books by Veronica Salazar

The classic British red phone booth recycled into darling little libraries

"Corrugations" folded by Dutch artist Noud van den Boer

Paper Couture

A Zoe Bradley Paper Dress Installation

Through the Rag and Bone blog, a Cardboardia Paper Clothing Gathering

Handmade Artist's Christmas Cards

Catching on on reading, and came across this article in the December issue of Smithsonian magazine about an exhibit of artist's handmade Christmas cards at the Smithsonian Reynolds Center for American Art and Portraiture. An interesting note in the article is that the cards were selected from a collection of artist's ephemera, an archive that includes journals, photographs, and sales receipts. (Be careful what you save!)

Blockprint sent by William Zorach, Lithuanian-American sculptor, and his wife, Margeurite, to artist Alfred J. Frueh.


Frederick Hammersley's screenprinted Christmas card design.

Chenille Love

I warped up enough for two scarves ... this is the second in progress, with a substitution of the black for the dark blue in the weft. I was a little worried that the pattern would not show up at all after wetfinishing. In the end, the patterning is subtle, but still noticeable in both scarves. The pattern is an extended point shadow weave (not that I really understand what that means, exactly) from A Weaver's Book of 8-Shaft Patterns. Sett at 20 epi (elongated the pattern into a long diamond).

Scarf #1 after wetfinishing.

Scarves #1 and #2. The black weft greyed out the color... most noted when side by side or when examining the fringe.

And speaking of fringe. I'm not sure what I did wrong, because I twisted fringe exactly the same way with a previous scarf. It could be because I didn't hem stitch the start and finish or that the fringe was a couple of inches longer. I pulled out the worming, but I'm sure it will do the same thing again when washed again. Since I put Fray Check on the knots, I'm not even sure I can retwist them.

How does your garden grow?

This year not so well. Guilty of outright neglect.
Next year will be better. Pinkie promise.
Right this very minute I am making a cold cucumber soup with fresh dill. Not from my garden, which has mostly never had veggies or herbs in it anyway. Unless you count the mint that threatened to take over the city. But still.
And I am trying these zucchini fritters from whipped to go along with.
(100 Proof Press (veggies), Herbarium or Leavenworth Jackson? (guano bag)
I cannot tell you how I ended up with a bag of dancing guano (that's bat ... fertilizer). Well, actually I can tell you how I ended up with it ... it came in a grab bag purchase. I don't think even I would willingly buy a stamp of a bag of dancing guano. It is kind of cute, though.
I cut the stamp outline and the shadow out with the Craft Robo.

From the Archives: Soft Block Carvings

Duke Ellington


The Tempest (sweet airs) - carved on one block, the instrument on the large surface and the bow on the side

The Arboretum (originally designed as a letterboxing stamp)

Not Mastering the Art of French Cooking

Looking forward to seeing "Julie and Julia" after having read the book for book group this year.
When at the Smithsonian Museum of American History this summer we saw Julia's kitchen on display. It would no longer be possible to place a stick of butter, or any other tribute, actually in the kitchen. It's all behind plexiglass now.

The 2009 Smithsonian Craft Show

Just a very few of the very amazing wearable art pieces shown at the Smithsonian Craft Show in 2009. From the fact sheet: "The Smithsonian Craft Show features 120 superb craft artists, each one reflecting the story of contemporary American craft in one of 12 categories: basketry, ceramics, decorative fiber, furniture, glass, jewelry, leather, metal, mixed media, jewelry, wearable art and wood. The individual artists or partnerships, including 44 first-time participants, are selected by a panel of 3 jurors, a new set each year, from over 1,300 applicants."




Turquoise Jacket/Scarf (handwoven complex twill in silk, merino wool, and rayon jacket, and handwoven and felted scarf in merino wool) and Blue Cool Squares (handwoven and felted merino wool jacket, handwoven silk and wool collapse weave scarf) -
by Patricia Palson, Contoocook, New Hampshire.


Detail: Firefall Euro Jacket - needlefelted merino wool
by Candiss Cole, Sedona Arizona.







These whimsical, organic, handfelted hats are by
Lauri Chambers, Nordland, Washington.