In May, I traveled to a week long artist residency in Ogallala, NE at the Cedar Point Biological Station.
Not only did I drive so far ( 7 hours +) to be in the Mountain Time Zone, I had philosophical conversations with a geologist about cartography, deep - time, and history of the sandhills to begin. I got lost for a day in the slopping and barren landscape of the sandhills, used the woodpile to mark drawing with sticks of cedar, discovered silk birding nets, and created drawings, weavings about topography.
Tablet Weavings created in response to visiting the Sandhills in far west Nebraska. The twists in the band weavings are a direct result of the diagonal structure of the weavings. These simulate the visual appearance of the Sandhills and their shadows cast through the duration of the day.
These weavings also relate to the water. Perhaps me next weavings will be about the water.
Colors: murkey green and gray.
I took these weavings "out".
They might be the beginning of something.
That wind though... One of my favorite things was to listen to it roll around the canyon as I stood on top. I had always read those cheesy description about listening to the wind "blow through the leaves". However, hearing the sound bounce through the canyon and travel behind and around me was an incredible experience of feeling my body in relation to the landscapes.
Above: wearing my weavings.
Bricks & Blocks Exhibition: Catherine Reinhart
April 16 - May 25, 2018
Grinnell Arts Center - Grinnell, IA
Opening Reception: April 21, 2018 , 5 - 6:30pm
The exhibit features a solo exhibition of fiber works, and a site - responsive installation created in partnership with the Grinnell Arts Council. The installation will be created at the reception and be available to be moved, stacked, and investigated by any visitors.
Leisure Suit Series on Display - Morning Bell Coffee Roasters
Reception: Saturday, November 11, 2017 - 3-5pm
Join me for a FREE reception OPEN TO THE PUBLIC.
I am excited and honored to finally announce that I have officially accepted the position of Artist-in-Residence/Gallery Manager with Iowa State university at the Design on Main Gallery.
This part time position will allow me to serve my artistic community while organizing exhibits, events, and happenings. I love this gallery and see so much potential in the space as a place to gather, grow, and learn.
In addition, I will be moving into the mezzanine studio above the gallery finally having a place to work which doesn't have cat litter boxes in it (basement studios are not ideal!).
I am over the moon excited about this opportunity and more than a little apprehensive about all of the details. Yet I get to work with great people in a great space. Today is a great day!
I haven't written in a while but here goes...
As some of you may know last Thursday - Saturday was spent in Portland, OR at the Surface Design Association Conference. Since I am still breastfeeding the little squeak beast, I toted him along.
I was very nervous to do so. Thinking "Is this unprofessional? How much will I be able to get out of this conference between caring for him and navigating a new city? Will my peers judge me for bringing him? " and on and on.
The truth was... It was hard work and I didn't get to absorb as many lectures as I would have liked but this community I am blessed to be a part of was super encouraging.
I met Danielle, the executive director of SDA, who said I was a badass for bringing him, and talked about the nuanced experiences of breastfeeding. A kind Board member held him for a while during the Keynote. Marci rae Mcdade who wheeled Matthew around for an hour! while I was fortunate to enjoy a poetic lecture from artist Jane Lackey. The most wonderful thing I have heard in a long while (I nearly wrote down every word she said. Where can I get a transcript of here talk!?)
During day #3 I met one artist for whom this is the first conference that she has not brought her daughter. Another who remembers attending a conference with baby in tow where she was breastfeeding and presenting. She recalls someone saying, "How brave you are?" to which she replied " Do you see another option?"
These are women who have done this before me. Who sympathize and welcome the happy squeals of a baby at the conference. Another artist mother and her partner brought their 6 month old girl along as well. What support and determination is takes to be a maker and a parent. Another artist from Texas who was pumping and brought her 3 or 4 month old. This was her first big outing after the summer hiatus and the first 3 months of life after baby. She is rocking it and I was completely impressed.
I could go on and on.
I was completely blown away. Thank you to everyone.
After about a 6 month hiatus from making, I have returned to sanity once again. Well, err, perhaps not quiet yet. Our second child was born and brought home on Christmas eve! Long story short, the past 4 months have been a difficult and delighted mix of breastfeeding horror stories and family of four antics.
Two fiber works accepted into the Community of Artists Exhibition. Octagon Center for the Arts
Leisure Suit Series Completed.
Applications to Residencies and Exhibitions in progress.
Rejections accrued : 2.
Overall Wellbeing: Hanging in there
I am also very excited to attend the Surface Design Association Conference in August in Portland, OR. YEAH! Hoping to enjoy three days of fiber festivities with my textile people.
To pay for said conference I will be selling work and thoughtfully considering garnering support via investors/patrons.
If you are interested in supporting me in the creation of new work and my artistic career, contact me at email@example.com.
More to come on this later.
Next Time.... Artist Residency in Motherhood, Exhibition Update and an website REVAMP!
My studio shelves are literally bursting with framed, ready to hang artworks waiting to grace your walls. Please consider supporting c.r.studio and our growing family (welcoming Baby #2 this Christmas!) with your holiday purchase.
Direct Message at firstname.lastname@example.org. Secure Purchase via Paypal.
Opening Reception: October 1 | 6-8 pm
Events: Thursdays, 5-7 pm
Gallery Talk: Grant Wood Murals, Oct. 7 | 7-8pm
The Common Threads Exhibit is supported, in part, by the Iowa Arts Council, a division of the Iowa Department of Cultural Affairs, and the National Endowment for the Arts.
Common Threads October 2016. ISU Design on Main Gallery, Ames, Iowa.
Current Fiber Works and Drawings - Morning Bell Coffee Roasters. 111 Main St. Ames, IA.
Opening Reception, August 7, 6-8 pm
Yesterday was the one year anniversary of a significant death. Over a year ago we were just getting to know Sonny Wang, he started going to our Bible Study. He was funny, loved food, loved people, had a great laugh and LOVED Jesus.
On March 22, 2015 Sonny passed away in a tragic house fire. I created a small piece to remember Sonny by. It is made entirely of silk threads that I hand dyed over 5 years ago. This piece will go up in the new house which has replaced the one that burnt down. It is my sincere hope that it will bring joy to everyone to sees it.
Sonny left behind a wonderful legacy including but not limited to an entire building in Haiti named after him, a wonderfully large group of friends, and a call to love (and feed :) ) others to Jesus.
My family and I were privileged to know him for even a short time.
Thanks Sonny. We miss ya!
GIF Color Table - Leisure Suit Quilt Blocks
Title: 2011 : 2015 | 37°18'33"N 26°32'48"E
Info: 27" x 35”, Silkscreen, ink.
For this print I used one of my string paintings as a resist to expose my screen. I then silkscreened pigment onto the paper creating the thread panoramas.
Old Print [history]:
This work started with a series of experiments using hanks, skeins, and string paintings to expose screens for screen printing. After exposing these screens, I printed the image onto paper in a light color producing a subtle effect.
These prints remind me of cloud formations, mist, or ocean spray. Their slight effect revealed a different aesthetic than I had used before.
New Life [redemption]:
To give these pieces new life I decided to outline the subtle marks already present in the original image. As I worked these outlines began to resemble islands or archipelagos. Archipelagos are defined as a sea or stretch of water containing many islands.
A note about the title - Four pieces in this series of Prints/Drawings contain coordinates in the title. These coordinates are locations which hold significant meaning to me.
First is 2009 : 2015 | 41°4'7"N 93°46’14”W. Location: Slowalk Place, my childhood home
Second is 2008 : 2015 | 41°54'7"N 12°27’59"E . Location: Castel Sant Angelo, Rome, Italy. Formative Study Abroad experience during my undergraduate career.
Third being the current beauty I am discussing.
And Fourth, a sneaky peak at the upcoming 2012 : 2015 | 42°1'41"N 93°36’22”W.
Back to the main event. The location for this piece is the Island of Patmos in the Mediterranean sea. For those who are unaware this is the Island on which the Apostle John was imprisoned. In his old age, Christ came to him here, and after he penned the book of Revelation.
While I was working on this piece I knew it was a bit different from the others. Not stemming from corn fields but islands unknown. As I came to the task of naming the piece, I choose a place that was formative but distant. Unreachable.
I have never traveled to Patmos, and quite honestly, have never desired to. Yet, I have always found inspiration in the rich, and illustrative scriptures of the Prophetic books, including Revelation.
John's words stretch to describe the visions he witnessed, the bounds of human speech proving inadequate for such a task.
What places pull you to them? On what far island would you find yourself? This subtle, tranquil piece would make a good addition to your life.
You can’t even fly to Texas for $350.
Let me take you somewhere worth it.
Contact me via the website. Directly at email@example.com.
On Instagram @ c.r.studio.
Sorry to be delinquent last week but I was hit with a nasty bug.
All better now. So let's jump in!
Title: 2010 : 2015 | Fc : Ft
Info: 26" x 14”, Engraving, ink, cut paper
For this piece I used several techniques including engraving, cutting, ink, and drawing. Originally this print started as an engraving. I engraved onto three zinc plates using a tool called a burin. This process has been used for hundreds of years and has a rich history which I feel in love with.
Old Print [history]:
2010 : 2015 | Fc : Ft started its life as a proof. Proofs are used in printmaking to access the current state of the image and determine which areas need more fine tuning. Every successful engraving has multiple state proofs which reveal the evolution of the image. This image is made up of three small plates aligned vertically to create the image of a braid. I created this image during an engraving workshop at Frogman’s Print and Paper Workshop in 2010. The braid is a significant symbol in my work. It reoccurs time and again, in relation to my Grandmother’s death and to the fragility of textiles.
“We are both physical and spiritual, existing within a body that grows old and eventually dies. Yet we move, we dance, we touch, we think – all things that are a far cry from dying.
The body is locus to this transitional reality – and fabric, like our skin, and bodies, is fragile. It expresses the unique quality of impermanence, making it an apt material for the exploration of these ideas.” - Artist Statement, Catherine Reinhart
This piece was created at the same time as several pieces, which all contain hair motifs (shown below).
The ultimately stem from a performance piece I created while mourning my Grandmother’s death. You can learn more about a tribute here. Studio Spotlight #2 (in my blog roll) also has more information regarding this series of prints.
New Life [redemption]:
In this series of reworked prints, this piece is chronologically early. I threw all I had at it - an exacto, silver ink, pencil, pen and finally, a paper hole punch! Sometimes as an artist you need pieces that aren’t precious. You need pieces that you can expend your physical, and emotional marks on without worrying about the result. This work was that for me. With this piece I was satisfied but open my drawers and they're full of failures.
I need to learn to fail more. Or more gracefully.
I love this letter from Sol Lewitt to Eva Hesse that I stubbled upon in grad school.
“Just stop thinking, worrying, looking over your shoulder wondering, doubting, fearing, hurting, hoping for some easy way out, struggling, grasping, confusing, itchin, scratching, mumbling, bumbling, grumbling, humbling, stumbling, numbling, rumbling, gambling, tumbling, scumbling, scrambling, hitching, hatching, bitching, moaning, groaning, honing, boning, horse-shitting, hair-splitting, nit-picking, piss-trickling, nose sticking, ass-gouging, eyeball-poking, finger-pointing, alleyway-sneaking, long waiting, small stepping, evil-eyeing, back-scratching, searching, perching, besmirching, grinding, grinding, grinding away at yourself. Stop it and just DO!”
So, if you were at all drawn to my successful failure please consider purchasing the piece for your collection. I hope that it would remind you that you are a work in progress. Just like me.
Be humble and to all my artist friends - just DO! :)
Contact me via the website. Directly at firstname.lastname@example.org.
On Instagram @ c.r.studio.