Tag Archives: fiber art

Tapestries, Monet, and Escher, oh my! Part 1

This is part 1 of 2 on my recent adventure to Boston to see the art museums with my mom… and to indulge in the most delicious pastries I’ve ever had.  Seriously.

My mum has a favorite place to go in Boston.  She’s seen it grow and change and become increasingly popular for tourists and the city’s residents since she was just a young college student.  She has some great memories of this magical place, the Isabella Stewart Gardner Museum, and she brought me there a couple years ago to see one of her favorite rooms, which is filled with tapestries!

But on that trip, the room was closed for ceiling repairs!  I was able to enjoy some of the other tapestries in the stairwells and hallways, and so I left feeling like the trip was still a success.  And I knew I would come back to see just how magical these other mysterious tapestries are.

So a couple of weeks ago, we went back down to Boston, and I made sure I called the museum a few days before just to check that all of the tapestries were hanging!  The Gardner is bustling at opening time these days.  School trips, tourists, and residents are drawn to the serene oasis that is this beautiful Italian style villa just off the subway line.  Mum can remember walking through the central courtyard (these days it’s closed off) and seldom seeing another soul as she meandered through the many rooms filled with treasures.  Today we wiggle past the other visitors and make a bee line for the second floor.  Not only are we in Boston to see the tapestries, we’re also planning on heading over to the Museum of Fine Arts for the M. C. Escher exhibit and to a little bakery up in Beacon Hill, all before catching the 5:15 bus back to New Hampshire.

Going to the tapestry rooms on the second floor was a great idea, as the other early birds are still mingling in the courtyard and lower galleries.  The first tapestry room is large and lavish, and filled with various arrangements of seating (which fyi, you’re not allowed to put your bum on).  The tapestries here, which I remarkably forgot to photograph 😦 depict various garden scenes.  The colors have faded to mostly warm blues, greens, and pale yellows, which coordinated perfectly with the upholstered furniture.

The second room was even grander than the first, and the tapestries even more remarkable. Thankfully I photographed these tapestries!  The room reminded me of the old taverns you see in movies, with its dark wood and post-and-beam ceilings, and a fireplace the size of a Chevy van.  It has the feeling of grandeur, an excited expectancy of visitors and entertainment, and also a quiet comfort.  Mum remembers coming to this room for musical performances in the evenings, sitting in the warm ethereal glow of the medieval candelabras as the music enchanted a mesmerized audience.  The museum still puts on these performances, and I hope to experience one someday!

And I’m so glad I returned just to see these tapestries, for they are gigantic, full of exquisite details, and a true feast for the eyes!  My photography skills can’t do them justice, so hopefully you can see them for yourself someday.  I did get a few great detail shots and I also tried to capture the scale of these large pieces.  I didn’t take notes on names or workshops, but I do know they were made in Belgium… or is it Brussels?  Or is Brussels in Belgium?  Well, guess I need to go back!

Again, apologies for my terrible note taking!  I mostly regret it because now I have nothing to go off of but my own photos…

20180423_120348.jpg

with chairs for scale…

Obviously there will be more trips back in my future…

20180423_120336.jpg

 

20180423_120138.jpg

So much detail and beautiful, long hachure lines…

20180425_191302.jpg

Detail of women’s dress from above.  I can’t even imagine weaving this.  First there is the pattern of the brocade fabric to produce, and second is trying to capture the sheen of the fabric with hachure! This would be quite the test of patience… and eye sight!

20180423_120011.jpg

I love this scene, especially the castle just barely visible in the upper right.  And just look at those elegant gowns and hairdos! It’s easy to forget these are tapestries…

20180423_115144.jpg

The large borders of irises and lily of the valley unify the weavings in this series…

20180423_114216.jpg

The hunting scene…

20180423_114354.jpg

20180423_114158.jpg

20180423_123301.jpg

My mom noted how uneven the eyes are in this weaving, and how difficult it must be to create symmetry like what we see in a face.  She encouraged me to photograph this to remind myself that even master weavers had difficulties with capturing symmetry…

20180423_123659.jpg

This gorgeous tapestry, woven at a very fine sett, hangs above the doorway, and is really hard to photograph! But even from this view you can get an idea of all of the tiny details…

20180423_120831.jpg

My mum, looking out over the courtyard…

20180423_122153.jpg

You have to look everywhere around here. Some of the neatest things are above your head! And pretty much everything, from the floor tiles to the windows to the paint colors were purchased by Isabella and brought over from Europe.

20180423_122104.jpg

Isabella’s collection even includes this lovely Botticelli…

20180423_120900.jpg

overlooking the courtyard…

That’s all for part 1. Stay tuned for part 2 where I’ll show you some of the Monets’, Eschers’, and random statues we viewed at the Museum of Fine Arts.  Until then, keep creating!

Advertisements

Shadow Play

I recently took on a very, shall we say, intriguing challenge.  As someone who loves colors and how they play and interact together and blending on the bobbin, I decided to join my local tapestry weaving group in a collaborative weaving.  The challenging part? We could only use shades of gray and just one. other. color.

With the arrival of the ATA’s unjuried small format show, one of our members broached the topic of a collaborative weaving project at the Joan Baxter workshop in October.  Since we all live across New England, how would we unify our pieces for the ATA’s unjuried small format show?  She asked Joan for some creative suggestions, and Joan brought up the idea of using mostly shades of gray to be the unifying theme.  The introduction of one other color – a personal and individual choice, along with composition – would give us plenty of creative freedom while keeping to the requirements of the group’s challenge.

Many of us bought the Granite Collection of wool weft yarns from Weavers Bazaar, including myself, but I was stumped as to what my other color would be.  Since I was already changing up my palette with grays, I didn’t want to just go with one of my old favorites for the other color.  I wanted to challenge myself to think outside of the box, to stretch beyond my usual comfort zone of blues and purples. At the same time, I was pondering over some design ideas.  I thought of mountains rising out of the mists, a little river winding through a valley, or even my mom’s gray cat, Cole…

cole1

Awwww!

They were nice designs, but then I came across a short article about Carl Jung’s theory of the “Golden Shadow”, and I became intrigued.

On her blog Expressive Art Inspirations, Shelley Klammer writes how the golden shadow can be one of our greatest teachers.  Anytime we feel deep admiration for another person’s creativity or passion or success, it is really a reflection of our own power and potential.  Yet many of us have tamped down our most creative and powerful versions of self, sometimes because we’re trying to fit in with the mainstream, and other times because of roots going all the way back to childhood.  Whatever the source happens to be, the golden shadow is a beautiful invitation for us to open up and learn from our hidden, and often times most lovable, aspects of the soul. Klammer writes…

“The Golden Shadow is the soul part of ourselves that offers a particular strength of love to heal the areas where we have experienced the most hurt and lack.”

Shadows_wip3

I’ve always felt a bit intimidated by the idea of shadow work, feeling like I’d rather not face the horrible monsters hidden in my subconscious.  In the past few months, however, I began to feel more curious and unafraid of the shadow, especially after reading about the benefits of working with the golden version!  I wanted to see what I could learn from it, and as a friend and I discussed my gray scale weaving challenge, she mentioned opportunities being like open doors, and that was when I saw my final composition. I actually drew it on my antiquated smart phone first…

Screenshot_2018-03-13-20-46-11 (1)

All artists should be well-practiced in the area of Stick Figure drawing!

If any of you lovely readers are curious about the golden shadow, there seems to be quite a bit of info out there on the web, not to mention some books I saw on Amazon.  I plan on diving deeper into this subject as well; the act of weaving this little piece has certainly peaked my curiosity!

And if you’re craving more weaver nerd stuff (like technical notes and learning experiences from this piece) then please read on…

This weaving was done on a Hokett loom, which has easily become one of my most beloved weaving tools.  The sett is 12 epi with a cotton seine twine.  As I mentioned earlier, I bought the Granite Collection of fine weight wool yarn from Weavers Bazaar, and this is what I worked with almost exclusively.  I’m actually not very familiar with this yarn, and when I have used it in the past, I’ve mixed it in with a wool weft yarn from Norway that I purchase from Between & etc. I love this long-staple Norwegian yarn; it’s soft, vibrant, and plays well with the warp.  I recently discovered that with this yarn, my weft bundle of 3 strands for 10 epi was too small, and the “bead” of the surface of the tapestry was subtle.  The Weavers Bazaar yarn is even finer, tightly spun and requires a bit more bubbling than what I’m used to.  At 4 strands for 12 epi, I had some tension troubles in the beginning, but I soon got my sett back to normal…

Shadows_wip1

Bubble those wefts, weavers!

I soon found that 4 weft strands in each bundle was a pretty good size.  With enough bubbling, the yarn creates a crisp fabric with minimal fuzziness, due to it’s tight spin.  I of course, didn’t bother to sample, and that would have been especially helpful as this was a new weft yarn (and the only weft yarn) I was using. Another challenge with this piece that I realized very quickly was how difficult it was for my eyes to tell the shades of gray apart, especially when they were just one shade different.  So I numbered each tube and then kept very accurate notes on my sketch.  Believe me, my sanity (and my eyes) depended on it!

Shadows_wip2

A little rainbow blip came along to help me keep my faith amongst all of these numbers.

So in the end, my passion for both tapestry weaving and understanding my golden shadow came together to produce this…

Shadows2

“The Meeting of Shadows”, 4.5″ x 8″, 2018, cotton warp, wool weft, metallic thread

In the end, I’m really glad I decided to give myself a challenge by working with a different palette of colors, for trying out new materials, and broadening my creative design ideas.  It’s easy to stay in our comfort zones, away from the shadows, but when we step into the light of our own creative potential, we may find that the shadows are filled with glorious possibilities!

Keep creating!

~Laura

From the Woods to the Sea

A Tapestry Weaving Retreat with Joan Baxter

With my travel sketchbook and camera in tow, I wandered down the old dirt road to the sea.  The autumn sun was casting a soft amber light upon the trees as it made it’s journey below the horizon.  The woods suddenly parted and I found myself in a private secluded bay with little waves gently crashing upon the sand.  I climbed up onto the old crumbling jetty and sat on a rock, watching the golden sky fade to dusk.  An overwhelming sense of gratitude and awe washed over me.  I was here in this place of beauty and tranquility, where the woods meet the sea, and about to enjoy five whole days of everything tapestry weaving with one of my most favorite tapestry artists, Joan Baxter.

20171022_163754.jpg

From the time I met Joan, I felt as though she were a familiar friend, like perhaps maybe she was one of my beloved faculty members from college. She greeted me warmly as she laid out a dazzling spectrum of her gorgeous hand-dyed yarns.  The room we would be using was dark and cozy, surrounded by forests and near to the retreat center’s chapel.  It was in this room, with my fellow tapestry weavers, covered with yarn, books, looms, and bobbins, and fueled by Joan’s tutorials and evening talks, that my imagination sprang to life.

20171023_103443.jpg

How do the places and landscapes we hold dear to our hearts change with the passage of time?  This was the question Joan Baxter asked us to ponder over the months leading up to our workshop.  Compiling sketches and photos of our favorite place at different times of the day, we were asked to do some color studies.  Using our own yarn, and some of Joan’s, we played with colors of different values and hues.  We also had some of her samples to inspire us.  Joan is a magician when it comes to playing with and mixing colors…

20171026_142356.jpg

20171026_131653.jpg

A sampling of Joan’s beautiful samples…

 

20171023_170123.jpg

And here’s mine!

During the day, she gave tutorials to small groups of us on how to create dots, flecks, and color blends. She really inspired me to become more bold with my weft colors, and to understand how to carry consistent colors from one area to another, like with a reflection on water or creating transparency.

20171025_141230.jpg

A tutorial on weaving dots.  Joan enjoys simple weaving equipment like wooden frame looms and pipe looms…

 

20171026_142342.jpg

More dots and flecks (and check out that beautiful bobbin!)

For this theme of the passage of time, I chose to visit a small lake by my parent’s house.  I visited many times over the summer, always drawn to the sparkle of sunlight across the water and the forest that surrounded it’s shore.  It wasn’t until the fall, right before the retreat, that I noticed a lone tree that stood out from the others.  It had transformed into a brilliant golden yellow, and I had an a-ha moment: This tree would be the focal point of my composition…

 

20171011_175236.jpg

 

I thought I could weave an entire tapestry in five days! I must have been crazy.  The only tapestry I ever wove in five days is the size of a small photograph! Joan encouraged us to not weave for more than four to five hours a day, so as to not strain our eyes. So we went for walks, mingled and chatted with each other about our ideas, shared books and tips, were treated to several of Joan’s inspiring slideshows, and were fed three meals a day by the retreat staff.  The food was simple and nourishing and I loved that.  I found the simplicity and humbleness of our accommodations to be the perfect backdrop to focus on my art and my time with my new weaving friends.

20171023_080523.jpg

The view from my bedroom window…

And I noticed my idea for my tapestry was beginning to change and be shaped by the beauty of the retreat center grounds.  I was particulary inspired by Joan to think differently about how to weave water.  I’ve always woven flat, mirror-like reflections, but Joan encouraged me to think about time transpiring and how I could create that.  I began going down to the little bay to observe how ocean waves would rise and fall.  Sometimes I’d go down to the pond and throw pebbles to watch the ripples fan out.  I realized I wanted to capture the multi-dimensional appearance of those ripples moving across the water.  This was my sample of that idea…

20171026_205302.jpg

This sample was meant to try the techniques of carrying one consistent color throughout the water, capturing the light and shadow of a water ripple, the lines of a labyrinth underneath, and one of my trees golden yellow leaves (which ended up looking like carpet from the 1970s)

I’ve always been drawn to labyrinths as a symbol for personal and spiritual journeys.  I was so excited to see the retreat center had a lovely and simple one created from mowed grass and some shrubby trees.  I also knew I wanted to incorporate this symbol into my final design as well, perhaps underneath the water’s surface…

20171024_092309.jpg

So after a few days of observing and sketching, I had a pretty solid idea for my Time inspired tapestry.  When the last day of the retreat came, I was sad and yet also eager to get back home to try some of my new ideas and techniques I had learned.  I also had a new appreciation for myself as an artist, and the endlessly inspiring life we artists can live if we just open up to it.  It was an unforgettable experience to learn from Joan, and also it was the first time meeting some of my fellow members of the tapestry group TWiNE (Tapestry Weavers in New England) who hosted this event.  While I still haven’t started the piece inspired by this workshop (I know! I know! I’m getting to it!), I’ve noticed how my design ideas have shifted and finalized in my mind.  I feel ready to at least do some sketching and get the loom warped, and I guess I need to do a few more samples, too!

20171025_154101.jpg

My favorite weft blend, I love admiring it just on the bobbin…

 

20171026_112517.jpg

A postcard of Joan Baxter’s weavings showing her use of dots

If you get the chance I highly recommend taking a workshop or retreat.  It’s a fantastic way to meet and be inspired by other artists, form amazing connections, and learn a new thing or two!

Keep creating!

~Laura

Pressing Matters

An iron and it’s companion ironing board do you no good when they’re tucked away in a closet.  And in that same vein, keeping your unfinished tiny tapestries confined to a shoebox do you no good as well.  I recently finished my little weaving, Kingdom of the Winter Woods, in 5 days, which is a record for me!  But it wasn’t really finished.  Sure I had cut it off the loom and finished the ends, but could I really bear to throw it in the shoebox with all of the other unfinished weavings?  How would it, or any of the other tiny tapestries, be seen and enjoyed from inside a shoebox?

tinytapestry_home

It seemed so sad, all of my lovely little weavings sitting in a dark little box.  So out came the iron and the ironing board and the old pressing cloth, and everyone got their hems pressed!

pressing

The pressing was impressive

And now in the evenings when I have some free time, I carefully stitch down the hems, and ponder how I want to show all of these little pieces, even if their just in my own home…

sewing_hem1

The fact that they’re all finished and ready to be displayed makes me feel like I can move forward to make more art.

Tinytapestries1

Forest Dreaming, Kingdom of the Winter Woods, and part 1 of my lotus series. I clearly love blue and weaving stars and sparkles!

Making art is a wonderful and fulfilling passion of mine, and I also believe that part of that passion is to share what I create with others and to spread more beauty and happiness and peace in the world.  But I can’t do that from inside of a shoebox.  I also can’t just weave these beautiful images and never really finish them.  So here’s to finally finishing all of these weavings, and who knows, maybe I’ll find a sense of joy and even relaxation in this seemingly mundane process!

How do you complete your projects?  One at a time? When the pile begins to feel overwhelming? An Excel spreadsheet?

Happy creating!

Claim Your Space

A few days ago, I made a new board on Pinterest.  It’s called Studio Spaces and it’s filling up quickly with images of spacious lofts with skylights, white walls lined with cupboards for organizing materials, empty work tables waiting for ideas to be spread across their surfaces, and lots and lots of beautiful fiber art equipment.  Here’s what my studio space currently looks like…

studiospace62017

Inspiring, am I right?

Believe it or not, I actually like nestling myself in among the moving boxes.  It’s cozy and for some odd reason allows me to focus on what is directly in front of me.  While I love seeing where the magic happens for many artists, some famous and others unknown, I’ve also realized that there are loads of other artists out there who, like me, have to make do with what they have, and are doing a fine job at it, too.  Since establishing myself as a tapestry artist just over five years ago, I’ve moved several times and I’m about to move again. When I began tapestry weaving my loom was stuffed in the corner of my little bedroom, so fingers crossed the next place has at least a few more feet of corner!

My mom, before I came along, set up her easel in what she calls a nook, and when she wanted to work on a drawing she spread out into the equally tiny upstairs bathroom. When we moved to a bigger house, she started sewing and set up her sewing machine and fabric stash under the slanted ceiling of her bedroom. I have a friend who sews in her cozy living room, and another who paints in her bedroom, and still another who shares a small, ground level book arts and printmaking studio with a fellow artist friend.  To allow enough space to use her massive floor loom in a tiny studio apartment, my friend from college slept in the little closet under the stairs.  And of course there’s Van Gogh, who worked out of very small and simple spaces when he wasn’t doing plein air painting.  In the same vein, I once worked for a brilliant artist who had one of the most glorious studios I’ve ever seen, and hardly ever used it.

I love these stories about the creative ways we artists figure out how to set up shop. However small or spacious an art-making space happens to be, what matters most is what the artist is creating within that space.  That they are present to the work that their hearts and hands are creating.  Tyarn62017hat they are showing up for, and claiming, their own individual artistic journey, and seeing where it takes them.  I know this can be a challenge for some people, especially those with children, or a tight budget, or a small living space where dedicating an area to something besides the necessities seems impossible, or even all of these things.  I have seen it done however, by people from all walks of life.  And just because one doesn’t have their dream studio now, doesn’t mean they wont be able to create that in the future.

It’s also imperative that we don’t wait for conditions to be just right before we can start on that masterpiece we feel called to create.  You could spend so much time amassing materials and waiting for things to change for the better or the right studio situation to come along, and all the while the inspiration and passion could be slipping right between your fingers.

It’s not about where you create, but what you create.

To begin setting up your space, look around for items that aren’t being used that could get you organized. Thrift stores, yard sales, and consignment shops can also supply you with vases for storing paint brushes, baskets for yarn, and a simple table and chair for working.  Also, those Michael’s coupons come in really handy! Do you have a corner that’s not being utilized?  Claim it.  Put up a cork board for pinning inspiring pictures, or just use washi tape in fun colors.  Or regular tape, it really doesn’t matter.  See if any of your furniture can do double duty.  Even if your work is confined to a basket or a tote bag that you can carry with you, you still win because now you have a portable studio. Tah-dah! Also, keep your eyes open; as time goes by, you’ll find lovely items through people and places to add to your studio space that make it feel even more inspiring.

Bring in any little objects that help inspire your creativity, like souvenirs or mementos, photographs, rocks, feathers, and tokens of good luck. My personal favorite is a strand of paper stars that I hang across the heddle bar of my loom.  It always reminds me to stay true to myself and my own artistic voice.

By claiming your space you’re also claiming your right to be an artist, even if you only have a little time here and there to work on your craft. 

My mom always says it’s a sign of a true artist when they can work with what they’ve got.  I often sit on an over turned milk crate when I weave, and all of my yarn is sorted by color into unattractive, yet practical and affordable plastic bins.  I store my knitting needles, pens, and brushes in glass jars that once held pasta saucpeony62017e.  I would LOVE to have more beautiful storage items for my supplies and materials, but by working with what I have right now, I’m saving money AND I can dedicate more time and attention to doing what I love: my art!

So let’s start now.  What can you do today to make and claim a space for yourself?  What resources do you have that can help you to work on your artistic goals?  Remember, it doesn’t have to cost a lot of money, and often the simplest shifts produce the biggest results!

In the spirit of creativity,

Laura

 

The Social Media Detox

It’s been a while since I was on Instagram, even longer since I took a peek at Facebook, and you know what?  I’m still here, and all is well.  In fact, my voluntary social media detox has made space for the very thing I’ve been longing for: more time for creativity.  But it’s not easy to remove oneself from a community, especially one that is filled with excellent and inspiring people. My fellow fiber artists on IG are wonderfully supportive folks from all over the world, many whom I’ve never even met, and yet we have all spun an interactive web of sharing and networking that can keep us all updated on who is weaving what and where the next great art show is.  I can see how for some, social media keeps them humming along, nose to the grindstone, posting a photo of their latest masterpiece to share with their community.  The scrolling newsfeed of inspiration can keep the imagination flowing, and everyone benefits from the participation and consistent updates of the other artists. For me, however, it ended up turning into a distraction, an excuse to not finish – let alone start – anything, and I only felt worse when I saw all of the beautiful work that others were creating and sharing and I didn’t have anything to contribute.

On top of that, I was going through a dark night of the soul, and my muse seemed to have disappeared beyond my reach.  I counted the months since I had finished my most recent artwork on the big loom; 10 months.  I’m used to doing about three larger pieces a year.  I began to create more excuses; my day job was taking up too much time, I had to make dinner, I needed to knit a new hat, and there was my long Instagram feed to scroll through.  I continued to play piano and thoroughly enjoyed that creative outlet, but I was secretly worried that it was the end of tapestry weaving for me.  My imagination was blank.

blankpage2017

I decided that since I wasn’t making anything, and I was checking IG way too much, I would do a detox from the app and Facebook and just see what happened.  Around the same time, I began to pack up most of my things and temporarily live with just the necessities in the upstairs guest room in my parents house until I found a new place. The abrupt change in my physical space, along with the freedom from comparing myself to others on social media, resulted in the perfect recipe for returning to my own authentic creative voice.

In an article for Mindful magazine, Hugh Delehanty shares his experiences of getting back in touch with his creativity at an artist retreat.  After several days of struggling with painting what he felt he should paint, what he would usually paint, he reached a point of awareness to what was holding him back from expressing his genuine creativity.  I’ve read this article several times, and am continually fascinated with how so many artists share the same struggles of censorship, guilt, and trying to create what the world wants to see, instead of the visions that are stirring in their imaginations.  I’m particularly in love with a quote from the retreat instructor, Barbara Kaufman…

“Everything leads us back to ourselves… Sometimes we have to go too far to see that.  But what we usually do is play it too safe and close up.  Once you start opening, you get a sense that you can stretch more, and then you begin to realize the potential that’s available to you at any given moment.  The invitation of creativity is to move beyond the boundaries we’ve set for ourselves.  To allow life to permeate those thick walls that we think are so secure.”

I can see now that I was attempting to create within a very rigid mindset.  What would get me more followers and likes online?  Instead I should be wondering, what is it my soul wants me to create?  What images inside of me do I need to bring to life?  What wants to come forward and play into my work? I got so caught up in posting content that I forgot about the process.

While I was working on my thesis in undergrad, smartphones had just come out and cost, like, a million dollars and I wanted nothing to do with Facebook.  I instead stayed close and honest to the images and artworks I was creating for my thesis.  I had no filter for what I thought the art world wanted to see and instead followed the inspiration and beauty that resonated most within me. My passion and dedication to this vision resulted in a moving body of work that was a hallmark of my college career.  At times, I even surprised myself with what I was creating, and I know that it was because I stopped caring what other people would think. I instead opened up to the vast expanse of my own imagination, and followed it through the whole whirlwind process of completing a large body of work.

This isn’t to say I don’t think that social media is a useful and necessary tool.  As I said earlier, it can bring like-minded folks together to share stories and ideas, and therefore add more beauty and culture to our world.  I do think, however, that there are times when a break is imperative and healing for the soul.  It allows us to get back in touch with who we really are beyond the walls and boundaries we’ve set up for ourselves, and even to dissolve the stories of who we think we are.  Am I leaving social media for good?  Probably not, but until I return I will be putting my energy into getting back in touch with that authentic creative force within me, and creating the artwork I long to make.

Stay tuned, and keep creating!

The Importance of Creativity in Difficult Times

There’s no question about it, we live in difficult times.  Actually, it’s down right frightening.  Yesterday morning I woke from a repeating nightmare to find that the nightmare had come true.  I felt waves of anxiety and adrenaline rush through me.  I could barely cook my oatmeal, my hands were shaking and sweaty, and I don’t even remember getting dressed but thankfully I didn’t go into work still in my pajamas. But there was also a fire in my heart, a calling I now know I have to follow.  The message was how vitally important the creative arts are to this broken and fragmented world. That as artists and creators we are the messengers and the torch carriers, the ones who can help bring beauty and joy into a troubled world.

The news can usually make me want to slip away to the peaceful isolation of my studio, where my imagination can break free from the limitations of reality.  I can sort of “check out” from the pain of the world.  But I never retreat to this space to forget my troubles, I go there to be fully present with them.  Without the sensationalism of the media, I can process these difficult events with compassion and empathy.  With yarn in hand and hope and prayer in my heart, I put my intention into creating something of beauty from the pain. I sort of Rumplestiltskin things; I try to spin straw (or in this case, s**t) into gold.  Handmade wooden bobbins full of yarn clink against each other as each awaits its turn to be woven into a tapestry.  Colorful yarns intermingle and coexist harmoniously in this artwork that is part cloth, part image.  Needle and thread bring the pieces together.  My art is my tool for processing and healing, a metaphor for life, and my gift to others.

The world is full of writers, poets, musicians, actors, healers, painters, weavers, crocheters, jewelers, peacemakers, dancers, mothers, fathers, grandparents, bakers, gardeners, bloggers, dreamers, believers, needle-felted cat portrait artists, and so on.  I don’t believe there is a limit to the different kinds of creators and what they can create.  And the healing power comes from the heart of the one who is bringing that creation to life.  What we focus on grows.  If we lean into fear, we find more to be afraid of.  And if we lean into love, we find there is more love than we ever knew before.

When we do the things that bring us joy, when we work to create happiness in our lives, we are leaning into love. We are leaning into the things that makes us come alive.  We are living with integrity and refusing to stay small and fearful.  You can create hate, or you can create love.  Today, and everyday, I choose to create love.  I refuse to become cynical or to lose hope.  Instead I will stay with my creative spirit and make as many things of beauty as I can, whether it’s a big tapestry weaving, or a pair of knitted gloves for a friend.

The very intention of such seemingly simple creations is what holds the greatest gifts: generosity, thoughtfulness, and kindness.

Whether you’re a parent who’s mission is to raise compassionate children, or a baker who loves to see people find pleasure in a humble loaf of bread, or a painter who seeks out the beauty in the natural world, create from the heart.  Create to heal yourself and to bring healing to others. We may not be able to bring immediate and radical change to such a chaotic and fragmented world, but I truly believe we can start with what we create.  Let’s stand together and lean into love.  Let’s reach out across the divides and pass the torchlight from one troubled soul to another, and watch how love begins to grow.

20161110_125434