Recall Recapture Remember

EspaĂąola Valley Fiber Arts Center in Association with

Tansey Contemporary Presents

Recall, Recapture, Remember Showcasing the best in fiber work from the Southwest

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“Memory fades, memory adjusts, memory conforms to what we think we remember.”

–Joan Didion, Blue Night.

Does our past build us or do we build our past? Things remembered can be as sharp as the current moment or so blurred that only a feeling remains.

This exhibit embodies the essence of a recalled and recaptured past through the imperfect lens of memory.

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Española Valley Fiber Arts Center www.evfac.org info@evfac.org

Tansey Contemporary www.tanseycontemporary.com info@tanseycontemporary.com

325 Paseo de Oñate Española, NM 87532 (505) 747-3577

652 Canyon Road Santa Fe, NM 87501 (505) 995-8513

1743 Wazee Street Denver, CO 80202 (720) 375-1025

Cover Photo: Dianna VanderDoes, Meadow of my Memory

Contents

Linda Giesen, Desert Dunes

Invited Artists Polly Barton......................................................................................................................................................................

Elizabeth J. Buckley........................................................................................................................................................

Jennifer Moore................................................................................................................................................................

Judith Trager....................................................................................................................................................................

Carol Shinn......................................................................................................................................................................

Irvin Trujillo........................................................................................................................................................................

Titus Steiner Cody ..........................................................................................................................................................

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Juried Artists Jo Barton..........................................................................................................................................................................

Kelly Butterman...............................................................................................................................................................

Cindy Dworzak................................................................................................................................................................

Molly Elkind......................................................................................................................................................................

Linda Giesen...................................................................................................................................................................

Ayn Hanna......................................................................................................................................................................

Catherine Hicks...............................................................................................................................................................

Perla Kopeloff..................................................................................................................................................................

Jacqueline Mallegni.......................................................................................................................................................

Melody Money................................................................................................................................................................

Jill Powers.........................................................................................................................................................................

Jason Ripper....................................................................................................................................................................

Amanda Speer...............................................................................................................................................................

Dianna VanderDoes......................................................................................................................................................

Recall, Recapture, Recall, Recapture, Remember Remember | Juried Artists Charlotte Ziebarth .........................................................................................................................................................

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Polly Barton ARTIST BIOGRAPHY

Polly Barton is a nationally recognized artist who has been working in fiber for over thirty years.

She is known for adapting into contemporary woven imagery the ancient tying and dyeing technique known as ikat.

Her recent work is a series of drawings in thread. Seduced by the surface of lush, matt pastel rubbed on paper, she stitches with metallic thread.

As a young artist, Polly Barton points to her formative job as the personal assistant to Helen Frankenthaler, from whom she observed the inner drive, resilience, and intention necessary for an artist. The year was an introduction to the challenges and rewards of the New York art world.

In 1981, she moved to Kameoka, Japan and lived in the religious heart of the Oomoto Foundation to study with master weaver, Tomohiko Inoue. She practiced tea ceremony, calligraphy and Noh Drama with Oomoto’s master teachers.

Barton lives in Santa Fe, NM, and continues to weave and show her woven ikats on both coasts.

Her work is in many collections including the Art Institute of Chicago, Museum of Fine Arts, Boston, The Community Hospital Foundation of Monte Rey, and the Longhouse Reserve in New York.

ARTIST STATEMENT

I trace the edges of tradition and technique.

My new work grew out of the memory as a young girl of working in needlepoint alongside my great-aunt while she watched the Watergate proceedings on television. Her rose garden was for me a sensual paradise.

Now, in the studio, while rubbing pigment and pastel into paper to create a matt surface, I explore the idea of how much impact a single line of thread could carry against such color.

Needlepoint requires a grid, yet these color fields became the perfect slate for a free-hand adaptation of my drawings. Intricate, intimate, these threaded drawings devour time while the thread carries memory.

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FIRMAMENT Pastel on paper stitched with metallic thread 16.5” x ll.5”

THE EMPEROR’S MARK Pastel on paper stitched with metallic thread 16.5” x ll.5”

Recall, Recapture, Remember | Invited Artists

LICHEN Pastel on paper stitched with metallic thread 16.5” x ll.5

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Elizabeth J. Buckley ARTIST BIOGRAPHY

Elizabeth Buckley is a second-generation tapestry artist and teacher of over 45 years, who’s work evolved from using techniques of the Mexican and Rio Grande traditions to those of French tapestry. She further honed her skills in Aubusson, France at the atelier of Gisèle Brivet.

With her degree in art, Elizabeth brings to the classroom her deep grounding in design principles and color theory that specifically apply to tapestry. She draws from multiple tapestry traditions to provide her students with the technique vocabulary for finding and expressing their own unique voice.

Elizabeth Buckley’s tapestries take the viewer into a realm beyond words through her use of multiple layers and dimensions to create visual poems of blended colors and light. Her lengthy exhibition history includes national and Canadian juried and invitational shows, as well as in museum venues. Her work is in numerous private collections, and her publications include: FiberArts Design Book V and Carol K. Russell’s The Tapestry Handbook: the Next Generation, and Contemporary International Tapestry. In 2011, Elizabeth was awarded the American Tapestry Alliance Award for Excellence in Tapestry.

ARTIST STATEMENT

The Veils of Time describes deep, geologic memory of the Earth. In wild and undisturbed spaces one can sense the presence of millennia that stretch beyond the human lifetime. The Veils of Time tapestry offers glimpses within a story that begins in the molecular energy of atoms, DNA strands, star lit galaxies, and in the invertebrate gastropod forms that began many millennia ago, long before the dinosaurs roamed the swamps. Mythic memory is implied with images of the woven web in a transparent layer. Temporal memory enters as wind blowing through grasses.

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THE VEILS OF TIME Tapestry 16.5” x ll.5”

Recall, Recapture, Remember | Invited Artists

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Jennifer Moore ARTIST BIOGRAPHY

Jennifer Moore holds an MFA in Fibers and specializes in exploring mathematical patterns and musical structures in doubleweave wall hangings. She has exhibited throughout the world, receiving numerous awards for her work, and has been featured in many weaving publications. Jennifer lives in Santa Fe, New Mexico and travels extensively to teach workshops in doubleweave, color and geometric design. Jennifer was invited to teach doubleweave to indigenous Quechua weavers in Peru in 2013, and they are now once again excelling in this technique which had been discontinued after the Spanish conquest. She is the author of The Weaver’s Studio: Doubleweave, several doubleweave videos, and numerous articles.

ARTIST STATEMENT

The design for Introspection is a fractal that is based on the golden proportion. Beginning with the central golden rectangle, each successive generation of rectangles both multiplies and becomes smaller, and as they proceed from one generation to the next, they begin to overlap and share their physical space and their colors with each other.

This is like a family tree that fans out in multiple directions, and not just in one biological family, but in all of humankind, and in fact, in all life forms. We all receive knowledge that is passed down from our ancestors, directly through stories and indirectly through the collective unconscious. Our memories are not just what we experience personally, but are made up of the stories we are told and the stories that we tell to ourselves and each other.

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INTROSPECTION Doubleweave pickup Perle cotton 40” x 30.5”

Recall, Recapture, Remember | Invited Artists

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Judith Trager ARTIST BIOGRAPHY

Judith Trager is a fiber Artist from Boulder, Colorado where she has worked for the past 31 years.

Her work has appeared in many national and international exhibitions and hangs in museums, hospitals, university and public collections. In 2017 she was honored with a solo show at Dairy Arts Center in Boulder in celebration of her 75th birthday.

ARTIST STATEMENT

First morning on the Grand Canyon waking to the sound of the canyon wren at the bottom of Redwall Canyon. The sun made the Canyon walls look like a Spanish dancer in glorious shades of gold, pink and purple, red and black. Could any sunrise be more beautiful?

Judith Trager from my Grand Canyon journey journal, 2002

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SUNRISE REDWALL CANYON Silk, cotton and non-woven fabric 71” x 45”

Recall, Recapture, Remember | Invited Artists

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Carol Shinn ARTIST BIOGRAPHY

Carol Shinn, from Fort Collins, Colorado, is known internationally for photo-realistic machinestitched images. She holds a BFA from the University of Colorado and a MFA from Arizona State University. She has taught many workshops across the country including classes at schools such as Arrowmont, Penland, Haystack, and Maiwa. She has also taught at Arizona State University, Tempe, AZ and at Mesa Community College, Mesa, AZ. She has written Freestyle Machine Embroidery, published by Interweave Press (also available as an e-book).

Her most recent articles can be found at www.textileartist.org, including textileartist.org/ carol-shinn-tool-kit (about Adobe Lightroom), and textileartist.org/carol-shinn-examining-howhumans-see.

Collections with her work include the Denver Art Museum, Racine Art Museum, and the Museum of Arts & Design in NYC. Her work has been published in American Craft, Embroidery, Fiber Art Now, Fiberarts, Georgia Review, and Surface Design Journal.

Books with her work include The Box Project: Works from the Lloyd Cotsen Collection, by Lyssa Stapleton; Show & Tell, by Roger Manley, Gregg Museum of Art &Design; Textiles: A Response to Landscape (e-book by textileartist.org); The Nature of Craft and the Penland Experience; Discovery: 50 Years of Craft Experience at Haystack Mtn. School of Craft; and Celebrating the Stitch by Barbara Lee Smith.

ARTIST STATEMENT

I use three tools for my work: camera, computer and sewing machine. I begin with photographs, taken quickly with purposeful spontaneity in an effort to retain some of the fleeting immediacy I feel moving through a particular space.

A photograph captures a specific moment, but using my computer, I always change the image to remake that moment in my imagination. Then I transfer the image to fabric. I stitch the piece with a basic sewing machine. No part of the stitching process is computerized. I lower the machine’s feed dogs so I can move the fabric freely as I sew, allowing me to control the thread and the details.

A place is defined by a set of unique details. I focus on the precise and the particular as a way of describing a larger whole. Thread is perfect for this. The relatively slow process of embroidery adds the element of time, contemplation, and detail. I try to be true to the quality of a place while also using personal choices to influence the final image.

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ENCROACHING FOREST Freestyle machine stitching 26” x 19.75”

Recall, Recapture, Remember | Invited Artists

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Irvin Trujillo ARTIST BIOGRAPHY

As a seventh-generation Rio Grande weaver living and working in Chimayo, New Mexico, my work has evolved from the traditional styles of my forefathers. I use design ideas from historic Rio Grande weavings of Northern New Mexico and add my own aesthetic by combining old ideas with my own vision. My pieces may interpret my Hispanic history and culture, document events of the modern world, or make observations based on what is happening in my life. Most of my weavings develop spontaneously, as my father taught me. Executing an idea means discovering and overcoming the limitations imposed by traditional techniques and looms, and adopting, or perhaps changing, solutions as the weaving progresses. The binary logic of weaving makes the creative process and the execution of ideas inseparable. Not knowing the final outcome makes each weaving a journey.

Irvin received The NEA National Heritage Fellowship in 2007 and the New Mexico Governors’ Award for Excellence in the Arts in 2015, the Spanish Market-Lifetime Achievement Award and 5 Grand Prize Awards.

Museum Collections include: The Smithsonian Museum of American Art, Smithsonian Museum of American History, Museum of International Folk Art, Museum of Spanish Colonial Arts, Heard Museum, Albuquerque Museum, Denver Art Museum, Taylor Museum, National Hispanic Cultural Center, Gene Autrey Museum and the Museum of Man-Ontario, Canada.

ARTIST STATEMENT

This piece was woven at a temporary studio I set up in Los Alamos while my kids were going to school. I was weaving on a narrow loom because of space considerations. I had gone to see an international textile exhibition and the International Folk Art Museum in Santa Fe and I saw a head scarf from Tunisia which was woven with indigo, brown and white cotton. The scarf had a band across the center with woven designs and a border around the outside of the piece.

Since I had to weave the 30” width, I decided to make a piece made of two weavings sewn together to make a blanket size piece. In my tradition, most of the textiles produced were woven as frasadas or blankets. Today, there are few weavers in New Mexico that make blankets with the form of the Saltillo serape woven during the 18th and 19th centuries.

This piece differs from the pieces woven in New Mexico during the early 1800’s in that the center medallion is a scalloped circle made up of parenthesis. The inside circle in the center is emerging from the outside circle. This piece has the band across the center similar to the head dress I saw at the museum.

I was in the middle of the piece when the protests against the government started to happen in Tunisia, Egypt and in the middle east countries. I felt that this is when the Generation X was becoming aware and emerging. This piece signifies the change that has occurred with the introduction of the internet and the influence it has on today’s youth that is becoming aware of themselves with respect to others in the world.

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EMERGENCE IN TUNISIA 50% silk, 50% merino wool 80” x 48”

Recall, Recapture, Remember | Juried Artists

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Titus Steiner Cody ARTIST BIOGRAPHY

Titus Steiner Cody is Diné/Navajo and lives at T’iis Yazhi in the Ramah Navajo Community in the west-central New Mexico. He is of the Tódich’ii’nii (Bitter Water) clan and born for the Tł’ááshchíí (Red Bottom People) clan. Steiner leaned to weave from his paternal grandmother, the late Dorothy Cody, while spending summers with her in the Leupp, Arizona area. He also found support from this maternal grandmother, the late Alice Alonzo, who was a lifetime weaver and founding member of the Ramah Navajo Weavers Association, a grassroots group of community weavers whose mission is to promote the art of Diné weaving, its traditional process and its time-honored values of respect, self-reliance, empowerment, and the sacredness of one’s relationship to all.

ARTIST STATEMENT

Growing up within the four sacred mountains of the Navajo homeland, I often travelled west from the home of my family and maternal grandmother in the Ramah Navajo Community, south of Tsoodził (Mount Taylor), our Diné south sacred mountain in New Mexico, to visit my paternal grandmother, whose home was within sight of Dook’o’oosłiid (San Francisco Peaks), our Diné sacred mountain to the west, close to Flagstaff, AZ. Spending time with both of my grandmothers was precious, as each shared her life experiences and her unique skills, insights and visions that came with being a lifelong traditional Navajo weaver and sheep herder. Their stories and teachings continue to influence me and the weavings that I create today.

Reflecting on these journeys that crossed the spare landscapes which connected our south and west sacred mountains and me to my grandmothers, brings recollections of ancient stories that have been told and retold in our families for many generations…stories of our history, our beginnings, and who we are as Diné, the five-fingered people. Especially significant are our stories of creation that recount how our ancestors, the Holy People, aspired to create a universe governed by natural laws to achieve balance, beauty, harmony and peace and, in doing so, overcame much hardship and adversity to emerge from four worlds to bring into being the world that we now inhabit. These are the stories that I have woven into my triptych.

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SOMEWHERE (Triptych) 37” x 68”

Traditional Navajo wool preparation: hand carded, handspun Navajo-Churro and Rambouillet wool yarns, blend natural buffalo hair-Navajo-churro wool yarn, commercially-spun, aniline-dye wool yarns (maroon, turquoise, green), natural wool colors – white, black, hand carded white with black, dark brown, tans. Traditional wool dyeing methods using locally gathered plant and natural dye pigments: orange – wild carrots, lichen & Navajo tea, yellow – juniper, Navajo tea, rabbitbrush, snakeweed & wild yellow flowers; tan – cedar bark, oak leaves & walnut; pink-mountain mahogany with cochineal bugs; light browns – walnut; red n cochineal bugs; blue – indigo; olive – walnut leaves.

Recall, Recapture, Remember | Invited Artists

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Jo Barton ARTIST BIOGRAPHY

My work is an eclectic mixture of cultural imagery and textile techniques gathered during a life lived in many places, from England, where I grew up, to Indonesia, South America and a number of locations in the United States.

I have tried many media over the years but always return to my first love: fibers and fabrics. With my background in art and art education I have lectured and exhibited in both England and the United States before retiring to New Mexico in 2000. Since then I have devoted most of my time and energy to my work and my own development as an artist expanding my knowledge of the ďŹ ber arts and nurturing my own creativity. Retirement has also provided me with the opportunity to continue absorbing cultural diversity through travel abroad and participation in workshops with international ďŹ ber artists.

ARTIST STATEMENT

The piece reflects a period of my life spent in Indonesia. This was an experience which turned out to be a pivotal point in my career, a gathering of memories to which I return repeatedly when I am in need of peace or inspiration.

I was given the opportunity to study, experience first hand and absorb the wonderful richness and diversity of the local culture, especially its craft and its art. Later I was able to incorporate this knowledge into my own work, thus widening my ability to expand the range and versatility of fiber and fabric as a contemporary art medium.

Now, when I embark on a new workpiece, I can call upon such techniques as shibori, ikat weaving, embroidery, and batik to enrich my own creative ideas.

This piece could not have been made without that experience.

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EAST MEETS WEST ARCHIPELAGO Shibori-dyed, knitted and fulled wool and silk; knitted appliqué; wool, silk and cotton; hand and machine embroidery 13” x 29”

Recall, Recapture, Remember | Juried Artists

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Kelly Butterman ARTIST BIOGRAPHY

Kelly Butterman has been an artist at heart since she was young, though she didn’t pursue art as a career until after she raised her three incredible children. She is a self-taught textile/ folk artist who works in a variety of forms – whatever suits her fancy at that time. Fascinated by collecting and reusing, she creates fabric sculptures recycling new and used objects.

Additionally, she is expanding her artistic talents into unique textile art utilizing rope and fabric to build 2D and 3D pieces. Her work has been shown in multiple galleries and is brightening the interiors of houses all over the United States and Europe.

ARTIST STATEMENT

The Traveler is from my series ‘Story-tellers’. Doing volunteer work at the 800-year-old ruins known as Kuaua Pueblo has so inspired and influenced my work. The archaeological analysis I participate in tries to help tell the story of these Pueblo people. Who were they - where did they come from – where did they go?

The Traveler is my homage to these people. Eight hundred years ago she traveled a path that brought her to this Pueblo. She brought stories to the people. The people passed those stories down to their children. They painted the stories on the walls of their kiva. The Traveler taught them to seek out the winding paths, to accept not only the beauty but also the difficulty of the journey. When they had learned all they could from her she traveled on to tell the stories to more people.

Through time the stories have faded but The Traveler is always with us – beckoning us down the paths to learn the old stories and to create new stories.

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THE TRAVELER Fabric, fiber, rope, repurposed wooden crutch, beads 57” x 16” x 2”

Recall, Recapture, Remember | Juried Artists

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Cindy Dworzak ARTIST BIOGRAPHY

I grew up in Colorado and am a long time resident of Northern New Mexico. I cannot imagine living anywhere else. I began weaving in the mid 1980s making lots of blankets and rugs. I loved tapestries but making them seemed beyond my abilities. I had the opportunity to take tapestry classes at EspaĂąola Valley Fiber Arts Center starting in the mid 1990s first with Robin Reider then with James Koehler. James not only taught tapestry techniques, design and color concepts but he also opened my eyes to the world of art. I have also had the opportunity to study with Elizabeth Buckley and Joan Baxter, who have also helped broaden my understanding of the world of tapestry. I am lucky to have a supportive family and a local group of tapestry friends whose knowledge and encouragement keep me moving forward producing tapestries.

ARTIST STATEMENT

I enjoy making tapestries with abstract themes that reflect my love of playing with colors and movement.

My mother was a very complex person who faced major challenges throughout her life with grace and dignity. She was also a beautiful woman who loved color especially in her clothes.

When I look at the tapestry Circles I see the essence of my mother. I see the complexity and color that was so much a part of her being, especially in the overlapping circles with a wide variety of complimentary colors forming a complex arrangement of color interactions and shapes.

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CIRCLES Cotton seine warp, hand dyed wool weft 39.5” x 37” x 1”

Recall, Recapture, Remember | Juried Artists

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Molly Elkind ARTIST BIOGRAPHY

Molly Elkind has focused on weaving for over ten years, but Molly is also fluent in papermaking, mixed media collage, and embroidery. Across media, Molly’s work seeks to make visible the sacred. Molly earned an M.A. in Studio Art from the Hite Art Institute at the University of Louisville in 2002, and in that year she was awarded an Artist Enrichment grant by the Kentucky Foundation for Women. Exhibition highlights include a solo show at Mercer University in Atlanta (2009) and numerous juried and invitational shows nationwide. Molly has been published in Tapestry Weaver (Britain), Arts Across Kentucky, Needlearts, SAQA Journal, and Shuttle, Spindle, Dyepot magazines. Her work is in several private collections.

Besides making art, Molly is passionate about teaching it, with a particular focus on design principles and processes. For over 20 years she has taught private students and guilds across the Southeast.

ARTIST STATEMENT

These tapestries, from a series entitled My Real Name is Mary, are inspired by a sixth-century icon of the Virgin Mary. The unconventional beauty of the face and the steady, enigmatic gaze prompted me to investigate what the image of Mary has meant, and means, for women over the centuries. Our collective cultural memory of Mary has made her a symbol of impossibly high expectations for goodness, purity, beauty, and obedience.

Mary (Yes), reimagines the Annunciation as an event in which a young woman actively creates her destiny. This “millennial” Mary honors feminine imagination, courage and power.

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MARY (YES) Cotton, wool, linen 28” x 19.5” x 1”

Recall, Recapture, Remember | Juried Artists

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Linda Giesen ARTIST BIOGRAPHY

Living in New Mexico I am influenced by the rich southwest weaving tradition and inspired by the high desert landscape. The beauty found in a desert mesa at sundown and a stretch of white desert sand against a dark sky moves me and touches me. It is these moments and memories I want to capture in my tapestries. Weaving for me is not only a journey through color and form but also a journey of self-expression and discovery.

I started weaving when I moved to the Magdalena Mountains of New Mexico in 2004. My first teacher taught me not only weaving, but also, about churro sheep ranching, lambing, shearing and wool processing. I turned to tapestry after I was captivated by a James Koehler workshop. He became my teacher and mentor for the next five years. My desire as a weaver is to capture the essence of nature abstractly and create movement through subtle blending of colors and textures.

I live and weave in Las Cruces, New Mexico.

ARTIST STATEMENT

“Darkness has its own light.� Theodore Roethke Recalled memories of growing up are a dance between darkness and light. After so many years the moments of darkness and light seem more balanced and heightened by each other.

It seems now where the light and shadows meet, I see the beauty of both.

Capturing the beauty of the lightness and darkness is the essence of what Desert Dunes is about. Moonlight hikes among the desert dunes under the magical glow of the full moon creates for me a balance of light and darkness that heightens the beauty of both.

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DESERT DUNES Weft: mohair, alpaca, wool, silk.

Warp: cotton 20” x 28”

Recall, Recapture, Remember | Juried Artists

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Ayn Hanna ARTIST BIOGRAPHY

Trained as a printmaker, Ayn began exploring drawing and mark-making in Fibers in 2005. She uses layers of her own hand-dyed fabrics combined with multiple surface techniques and thread “drawings” to create richly drawn active surfaces.

Ayn is inspired by our many systems for mapping and organizing ideas, stories, data and place.

She enjoys the overlaps that exist between art and science – shapes, models, diagrams, formulas, patterns. Her work maps together imagery and personal symbols to convey feeling/ memories of places and experiences into visual storytelling.

Ayn maintains an active exhibition and show schedule. Her work has been shown in many regional and national juried exhibits as well as solo and group gallery shows throughout the US. She has exhibited at American Craft Council and SOFA Chicago. Ayn has taught college level drawing and printmaking and currently teaches workshops in multiple surface design, dyeing and printmaking techniques.

Ayn earned a BFA and an MFA in Printmaking and Sculpture, both at Colorado State University She then worked as Fine Arts Printer in a Master Etching Studio in New York City for several years before returning to Colorado where she now lives and maintains her studio practice.

ARTIST STATEMENT

White Map #2 utilizes vintage and reclaimed fabrics to construct a remembered space from childhood, a landscape that include underdeveloped “wild” wooden terrain with a river running through it, and a golf course that bounded it. Our kid posse grew up through magical adventure in that neverland, took some risks and lived to tell about it – the fearless folly of youth.

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WHITE MAP #2 Vintage and reclaimed fabrics, stitching 15” x 22” x 2”

Recall, Recapture, Remember | Juried Artists

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Catherine Hicks ARTIST BIOGRAPHY

I was a fool when I was young.

I did not listen to the artist trying to claw her way out from inside of me.

Instead, I heard only a Mother who didn’t like herself, and liked me less.

I absorbed her shame.

But art has a way of needing to be heard.

Art just won’t shut up.

So (at age 50), I stopped being what I was, and started being who I am.

I am born again.

I am an artist.

I think about art.

I look at art.

I dream of art.

Every day, I make art.

And the art, (I am 100% certain) Makes me.

ARTIST STATEMENT

Throughout my practice, my central question is this: What if paintbrushes had never been invented? What if pigment and oil had never been mixed? What if female creativity had ascended, and men’s work had been dismissed as “craft?” With no paint, how might art have been expressed, and who, exactly, might have done the talking?

All of my work is wired and stitched from artistic memory, as an ongoing call and response between myself and artists of the past. Everything I make is some sort of recuerdo; a way of communing with the painters I wish I had known by more than what was left in biographies and hanging on museum walls.

Appropriating self and photographic portraits, and using art history as a foil, I explore the lives and work of significant artists by reinterpreting their work through a medium that undoubtedly precedes (but did not survive as easily) as mark making with pigment.

With a provocative wink, my work explores art history through feminine - now feminist tools: needles, wire and thread. With meditative stitches and hidden structure, I reimagine flat planes of shadow with visual images that leap dimensionally toward viewers with depth that is present and unabashedly real.

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GEORGIA, ALFRED, MC AND ME Silk and metallic fiber, found object on velvet 8” x 10”

Taken from Alfred Stieglitz photograph of his wife, Georgia OKeefe’s hands, my homage also includes a nod to MC Escher’s hands drawing hands. In this piece, I appropriated the original Stieglitz image by shifting the medium from Stieglitz’s photography to hand embroidery, a method of mark making that was more closely associated with O’Keefe. MC Escher’s paradoxical hands drawing hands became hands embroidering hands in my piece, which also features active needles and thread.

Recall, Recapture, Remember | Juried Artists

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Perla Kopeloff ARTIST BIOGRAPHY

I was born in Buenos Aires, Argentina but left my country after a military coup in 1974. I studied weaving and became a tapestry weaver in Virginia before moving to Taos, NM where I thought my fiber career would become more interesting. After years of tapestry weaving I explored Paper making, encaustic media and felting. My thirst for fiber techniques and possibilities is infinite. I am concentrating on collage with handmade paper and encaustic media as a conduit for wall and three dimensional pieces.

ARTIST STATEMENT

When you leave your culture, your language and your friends to come to a new country, you are compelled to remember your origin. As an Argentinian immigrant, I’ve been trying to recapture my past using new strategies to activate my memory.

• • •

Writing letters with ink and cursive.

Making shirts out of handmade paper recalling my mother at the sewing machine.

Collaging some of the gold and silver candy wrappers of my favorite old treats.

These pieces I present are a testimony of the melancholic feeling of past experiences and the abundant happiness I feel when I’m able to transform myself into a new being.

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FAMILY LETTERS Handmade paper, found objects, encaustic media 26” x 26”

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Jacqueline Mallegni ARTIST BIOGRAPHY

Jacqueline Mallegni creates mixed media minimalist sculpture with a focus on the concept of ‘the spaces between’ — between us and them, inside and outside, contemplation and chaos.

Mallegni’s sculptures are small installations made with rattan, natural materials, handmade paper (washi), cast flax and silk fiber, often embellished with mono-prints infused with indigo and sumi ink.

The intention is to evoke a sense of place and one’s relationship to that place. To pause and reflect on the beauty within. Her work is ethereal in nature inspired by Asian aesthetics and philosophies of wabi-sabi — acceptance of transience and imperfection, and yugen — deep awareness.

Jacqueline is a native of San Francisco. She teaches workshops in California and New Mexico; is a member of the Surface Design Association, NM Fiber Artists Directory and the International Association of Hand Papermakers and Paper Artists. Her work has been published by Still Point Arts Quarterly and West Marin Review. Her collection of haiku, poetry and sculpture entitled Solitude was published in 2018 by Shanti Arts.

ARTIST STATEMENT

The Joan Didion quote resonates deeply with my work. As she says “Memory fades; memory adjusts; memory conforms to what we think we remember.”

My work attempts to recapture negative emotions and memories transforming them into beauty, into a form that reflects the beauty within the human condition and the natural environment. The calm and chaos found in nature has been my main source of inspiration for decades along with the beauty of imperfection as seen in wabi-sabi. It is there I find a deep sense of peace. It is this sense of peace I wish to translate into sculpture.

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JOURNEY HOME Handmade paper (washi), rattan, cast flax and slik, kibisu, waxed linen thread, kakishibu 13.5” x 27” x 7”

Recall, Recapture, Remember | Juried Artists

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Melody Money ARTIST BIOGRAPHY

Melody Money is a mixed media textile artist. She began her art studies at the University of Colorado concentrating on Silk Screen. She continued her studies at Rudolph Schaeffer School of Design in San Francisco where she studied Prismatic Color Theory and Design. Her work is a labor of love of details and the effects of light, celebrating everyday moments and memories. Her work has been shown nationally at such venues as The National Textile Museum in Washington, DC, as well as internationally. She currently lives in Boulder, Colorado.

ARTIST STATEMENT

For me what makes a piece of art sing is a combination of the details, and the quality of the light. I try to celebrate everyday moments and memories of those moments. The wind through the grass, birds in flight, the way the light makes snow shimmer, light reflected on water, the musicality of starlight are all images full of radiance and resonate in our collective memories. I love the process of many small details coming together to form an essence of a place in time.

I am motivated to take a medium that is traditionally worked on a smaller scale and expand it to a larger vision. I welcome the opportunity to go over the top with detail. The use of textiles has enabled me to incorporate texture into my paintings. The fabric softens the edges and warms the final piece. But mostly for me, it is about the shimmer of the light. I try to capture that moment of grace when the angle of the light will resonate. I want to share an appreciation of the quiet loveliness of everyday moments.

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WIND IN THE MEADOW GRASSES Hand dyed silk chiffon, pleated and heat set.

Hand embroidered with cotton and rayon thread.

Cotton batting and backing.

50” x 30”

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Jill Powers ARTIST BIOGRAPHY

Jill Powers’ art has been recognized through feature articles in Fiber Art Now, Hand Papermaking, Fiberarts, American Style, and other magazines, along with 500 Paper Objects, 500 Baskets, Authentic Visual Voices, and the Fiberarts Design Book. She has a graduate degree from Tyler School of Art. Powers exhibited in the Invitational International Fiber Art Biennial. Her work was shown at SOFA Chicago with galleries from Los Angeles, Philadelphia, and Boston.

Powers’ work is in the collections of the American Museum of Papermaking in Atlanta, and the Sara and David Lieberman Contemporary Craft Collection. She is on the faculty of Naropa University in Boulder, Colorado and has offered talks, workshops, and retreats at such places as the Honolulu Museum of Art, the Sitka Center for Art and Ecology, the Denver Botanic Garden, and the CU Natural History Museum.

ARTIST STATEMENT

My most recent art reaches back to an ancient time in the history of our planet, by imagining the waters and mysterious creatures who swam over New Mexico and Colorado in the shallow ocean that scientists named the Western Interior Seaway. Their traces appear in fossils that I sometimes encounter when hiking in the dry mountain foothills near my home, sea shells in rocky ledges and the impression of forgotten creatures taking their last breath. At one place, the ripples of ocean waves captured in the sand were hardened into rock and now tilt upward, evoking primordial memories of a distant time.

The piece, Primordial, was inspired by the fossil of an ancient marine species, Pachyrhiodus, alive in the Cretaceous time period. The art includes some shapes similar to primitive versions of floating algae, called Coccoliths, which bloomed amid the ancient shallow seas and brought nourishment to the creatures there.

Curatorial Note: Kozo bark fiber comes from the inner bark of a shrub in the Mulberry family, grown traditionally in Asian countries for making high quality rice paper. Instead of making paper, the artist steams and prepares the raw bark fiber traditionally (sourced in Japan and Thailand), and then creates contemporary castings and sculptural art. She invented techniques for opening, casting, and pigmenting the Kozo directly. Kozo is archival, very strong and durable, and delicate parts are coated with an archival sealant for extra protection.

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PRIMORDIAL Kozo bark fiber, silk organza, waxed linen, silk thread, aluminum rod 50” x 53” x 3”

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Jason Ripper ARTIST BIOGRAPHY

Born in New Jersey, Jason Ripper migrated West to the Arizona territory at the age of 10. Apt in the arts from an early age, he garnered recognition achieving numerous awards in his youth including most prolific artist of his graduating senior class. After serving his country honorably in the United States Air Force, Ripper continued his endeavors in the arts enrolling in Arizona State University where he obtained undergraduate degrees in Fibers and Ceramic focused Studio Arts before earning a Masters in Intermedia. His Professional career has been recognized both nationally and internationally. His works are represented in collections both private and public.

ARTIST STATEMENT

This work was undertaken as a form of personal therapy in overcoming the passing of my mother. It is comprised of individually bound people that are sewn together to form a single human “skin.� The fabric used was gleaned from the everyday clothes that my mother, father and I wore. I found it important to use these materials not only as a type of personal remembrance of the connections we all had as a family, but as an arching platform to personify the work and hopefully make a connection with others. The memory of cloth is very powerful. How it wears, how it fades, how it is treated, all tell stories of the individual. While this work is a personal narrative the experience of loss is universal. It is a similarity we all share in being tied and bound together in the commonality of our human existence.

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BLOOD AND BONE Repurposed fabric 91” x 33” x 1.5”

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Amanda Speer ARTIST BIOGRAPHY

Amanda Speer is a weaver and fiber artist. She received her BFA from Columbia College Chicago, 2006. She and her partner Dain Daller were the World Craft Counsel’s selection as the US representatives for the The World Ikat Symposium in New Delhi, India. Recent exhibitions include The Ties that Bind, New Delhi, India, and a show at Big Blue Gallery, Fairfield, Iowa.

Amanda Speer lives and works out of her hand built, home studio in Abiquiu, New Mexico.

ARTIST STATEMENT

This piece is a tribute to the memory of the 36 lives that were taken from us on December 2, 2016 in the “Ghost Ship” warehouse fire in Oakland, CA. These young souls continue to inspire from beyond.

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Cash Askew, 22 Em Bohlka, 33 Jonathan Bernbaum, 34 Barrett Clark, 35 David Cline, 24 Micah Danemayer, 28 Billy Dixon, 35 Chelsea Dolan, 33 Feral Pines, 29 Alex Ghassan, 35 Nick Gomez-Hall, 25 Michela Gregory, 20 Sara Hoda, 30 Travis Hough, 35 Johnny Igaz, 34 Ara Jo, 29 Donna Kellogg, 32 Amanda Kershaw, 34

Edmond Lapine, 34 Griffin Madden, 23 Joseph ‘Casio’ Matlock, 36 Jason McCarty, 36 Draven McGill, 17 Jennifer Mendiola, 35 Jennifer Morris, 21 Vanessa Plotkin, 21 Wolfgang Renner, 61 Hanna Ruax, 32 Benjamin Runnels, 32 Nicole Siegrist, 29 Michele Sylvan, 37 Jennifer Kiyomi Tanouye, 31 Alex Vega, 22 Peter Wadsworth, 38 Nick Walrath, 31 Brandon Chase Wittenauer, 32

IN MIND Linen and sisal 38” x 38” x 2”

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Dianna VanderDoes ARTIST BIOGRAPHY

I am a self-taught fiber artist. I have been making quilts for the past ten years, which are primarily an investigation of my relationship with the natural world. I work in cotton and silk fabric and combine surface design techniques such as dyeing, painting, image transfer and applique, in layers that I stitch together to create complex images. The layering of many techniques and materials gives my work its sense of depth and complexity. Working with fabric also gives me opportunities to explore texture in a way that isn’t available in any other media and the sensual, tactile quality of the fabric gives it a warmth and approachability that makes the viewer want to touch and interact with it more closely. Most often color is my initial inspiration for a piece and gives my work its sense of emotion. I also like playing with contrasts in my work such as transparency and opacity, organic lines and geometric shapes, realism and abstraction.

ARTIST STATEMENT

There are places in my mind that I don’t think I have actually been to, but that are deeply familiar and very emotional for me. Whether they are fragments of memory, parts of dreams or imagination, creating them in fabric gives me a chance to experience them more completely and to share that experience with others.

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MEADOW OF MY MEMORY Hand-dyed and painted cotton and silk, non-woven material and stitch 30” x 58”

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Charlotte Ziebarth ARTIST BIOGRAPHY

Charlotte is the author of Artistic Photo Quilts, published in 2009 by C & T Publishing. It is about her development of digital fabric techniques as used in her quilts. Her quilt, Moons and Mars: Sand Pictures #3 appeared as the cover image for the exhibition catalog and book Quilt Visions 2008: Contemporary Expressions. She has exhibited in such juried exhibitions as Quilt National, Quilts Visions, Art Quilt Elements, Form Not Function, and New Legacies: Contemporary Arts Quilts.

She has a background in teaching academic psychology, and she has worked with art and cloth all her life as a professional dyer, clothing designer, knitter, and quilter. After many years working principally as a weaver she fell in love with digital art possibilities and presently concentrates on creating digital imagery on fabric and assembled into quilt art.

When not working in the digital darkroom or in her sunny quilting studio, she can be found painting, reading, knitting, listening to opera, hiking in the mountains with her camera. She was born in Chicago and raised in the Midwest. She has lived with her husband, Ken, in Boulder, Colorado for more than thirty-five years.

ARTIST STATEMENT

Having grown up near Lake Michigan I always remember the trips to the beach and the opportunity to play in the water. As an adult I have visited the Northern coasts of California, Washington, and Alaska many, many times. I’m always fascinated with the reflected views the rippling water gives us. Each of my Waterline series quilts remind me of the pleasures of watching the images float by when watching the boats at the locks, riding ferries, or “merely” watching the waves crash against the shore.

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HALFMOON BAY Silk, cotton batting, cotton backing, archival printing inks, rayon and cotton threads, acrylic spray varnish 35� x 51�

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