By the end of the week she had assembled a “museum” in her room of her trip to Ohio, Kentucky and Indiana. On the Kentucky side we found some deep footprints in the sand at the edge of the river, partially filled with water that had seeped in. “I want to get out into the landscape, experience the land, get to know a place by handling the materials.” For instance, she hiked barefoot on the delicate tundra to get a feel for the tiny, stunted vegetation. Both are rich in resources. It must have been exciting to be there to observe her process and to be able to discuss it all with her. I was thinking about how one would do that with her methods: such as leaving pieces of paper on the ground to be walked on or driven over. The vocabulary for my work is drawn from studying textile traditions and ordinary stitching practices such as darning, mending and patching. The stitches are like running stitch, kantha stitch, darning and mending stitches and she is quoted as being inspired by this Louise Bourgeois quote: “I have always had a fascination with the needle, the magic power of the needle. Oh wow, I love your pieces and can only imagine what the classroom must have looked like! Recently she received a grant from the Canadian government to conduct two parallel art projects on the two continents; in both places she would go to a remote location for several weeks, getting to know it, collecting both natural and manmade artifacts, and dyeing paper and fabric with indigenous plant and earth materials. … or simply a mixed bag to be sorted each on its own merit? Change ), Research: Dorothy Caldwell Textile Artist, Part 5 Project 3 Experimenting and Taking Risks, Research – additions to Sally Blake and Dorothy Caldwell research notes | oceanbluetextiles, Research – additions to Sally Blake and Dorothy Caldwell research notes, Written Reflection – New Textile Capsule Collection, Revised New Capsule Collection – Part Five, Revised 5.3 part 2 – Hand Stitched Samples. Dorothy Caldwell: Silent Ice/ Deep Patience is an exhibition that engages the senses. Caldwell has been invited to serve as a guest curator, workshop leader, and
This beautiful red and black piece was a gift from Dorothy's Australian students. through time and repetition evolve into richly activated surfaces. If you’re going to work in the Australian outback or the Canadian Arctic you’re by definition going to be focusing on the landscape; and insofar as you look at human traces you would probably be seeing them in light of how the land influenced the people. She references objects she finds on her walks in these remote areas and indigenous art. and touching. Dorothy Caldwell (born 1948) is a Canadian fibre artist. Dorothy sees the stitch as very important to the mark making seeing it as a dot, a line and a texture. She points out that Australia and Canada are similar nations in many ways: They’re both huge countries with the great majority of the population clustered on the edges, with vast expanses of sparsely settled, ecologically fragile territory that few people ever get to see. Museum of Civilization, Hull; the Canada Council Art Bank, Ottawa; and the
Back to the Future: Why Does Art Survive? See more ideas about Caldwell, Fiber art, Mark making. She undertook residencies in the Australian Outback and the Canadian Arctic. (by Kathleen Loomis), The fascination of ferrous oxide (by Olga Norris), Messing about with books (by Margaret Cooter), Still Lifes of Georgio Morandi (by Clairan Ferrono), quilt (R)evolution exhibit at the Dairy Barn (by Kathleen Loomis), Art and the Natural World (by Angela Moll), Craft vs. Art, one more time – Angela Moll, Maya Lin: Systematic Landscapes (by Eileen Doughty), Sabbatical and the Quilt Artist (gabrielle s.), Picasso: The Blue Period and Comments on Working in Series, Louise Nevelson….Independent and Innovative, The Creative Personality by Gabrielle Swain, Richard Diebenkorn: A Master of Spatial Relationships, David Hockney and Drawing (with Digressions, as usual) (by June Underwood), Clay and Fiber: More in Common Than You Think (by Karen Musgrave), Eva Hesse: A Woman Ahead of Her Time (by Karen S. Musgrave), Being Creative in our Art and our Budgets: by Kate Themel, News of the Weird – Should I be insulted by this horse? It is fascinating to see what kind of initial work goes into the making of Dorothy Caldwell’s large pieces, thank you. day will be spent outside experiencing place through tuning into your senses
unconventional marks such as burning, piercing, and mending. Dorothy asked one of the locals how they dealt with not being able to distinguish between “day” and “night” and was both chagrined and charmed at the response: “When we’re tired we go to sleep.”, Dorothy Caldwell, How Do We Know It’s Night, 120 x 114″. I'd love to take a workshop like this someday; it really speaks to me. I appreciate the story behind the works.