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Workshop and gallery archive

Mixed Media –
Wax and Dye on Fabric & Paper

DATE: June 24 to 26, 2010
INSTRUCTOR: Els van Baarle (Netherlands)
FEE: $585.00 + $29.25 GST
(additional materials fee to be determined)

> click on image to enlarge

Working with wax on fabric and paper, side by side for exciting results.
Pieces may be collaged for a quilt or book structure.

Supply List:

• A wax-pot like an electric frying pan in good working condition
• 2 or 3 metres white fabric, washed and ironed. Fabric can be: cotton, silk, linen, etc. Small pieces are ok, also some small pieces of coloured fabric.
• A selection of different kinds of paper: watercolour, ordinary copy-paper, handmade paper, tissue paper. Size A 4 is o.k.
• Brushes for the paints and dyes, different sizes
• Brushes for the wax, cheap , natural hair. Different sizes. One must be 5 cm wide. These brushes cannot be used for anything else. You can buy cheap brushes at the do-it-yourself store.
• Containers for the dye (yogurt, cottage cheese containers, etc.)
• Masking tape
• Foam roller app. 5 cm wide
• 2 paper plates
• Piece of soft cloth to make a printing area on your table
• Some stamps or small thermofax screens of your own collection.
• Old credit card or squeegee
• Hairdryer
• Plastic gloves
• Apron
• Roll of paper towels
• Extra plastic to put your wet pieces on.
• Stack of newspaper, at least 4 weeks old, for ironing out the wax, or unprinted newspaper.
• Scissors for fabric
• Scissors for paper
• Pins
• Basic sewing supplies, (needles some thread)
• Bottle of glue or small piece of wonder under (50 cm)

In the classroom:

• Access to water
• 2 irons, ironing boards or table for ironing,
• Enough plastic ( roll of large plastic bags)
• Clothes-line or rack, clothes pegs, to hang the wet pieces.
• Teacher will bring: 1 waxpot, Tjantings and tjaps, A few small silkscreens (thermofax)
• Teacher will order: Procion MX dye, printing ink, chemicals, wax

Space is limited – register early to avoid disappointment!

FOR MORE INFORMATION OR TO REGISTER:
Call 604-883-2380 or e-mail us

Painting with Wool

DATE: Saturday, April 24, 2010
INSTRUCTOR: Ursula Bentz
FEE: $120.00 + $6.00 GST; includes all materials

Bring ideas and your imagination. Discover the artist within you. Feel like a painter using the medium of wool and create a felted picture selecting from a colourful palette of dyed wool. You will finish a piece of flat felt, (dimensional optional). Feel free to explore and play with wool, or plan your design. Can be a small wallhanging, or small purse, pillow cover, carpet or an accessory to be stitched onto something else. Bring your favourite photo or magazine clipping. Think about famous painters, Matisse, Monet, Klimt, O’keefe or Emily Carr and be inspired.

Space is limited – register early to avoid disappointment.

FOR MORE INFORMATION OR TO REGISTER:
Call 604-883-2380 or e-mail us

Textile Collage

DATES: Feb 12, 13 & 14,  2010. 10:00 a.m. – 4:00 p.m. each day
INSTRUCTOR: Shannon Wardroper
FEE: $450.00 + $22.50 GST; includes all supplies and equipment
REGISTER: Call 604-883-2380 or e-mail us   

This introductory class  will provided students the opportunity to experiment with the unique combination of textile techniques Shannon uses to create her work. Screen printing black imagery on silk provides a ground to build upon with Japanese Rozome (wax resist) dying. Hand applied in many layers through brush work, it is used to color the silk.  The fabric is then printed again using a technique Shannon calls "ghost printing". The silk is then backed, cut into strips, reordered and re sewn. Embellishment comes last and a variety of your own embellishment materials are used.

The multiple layered techniques can achieve a lush depth of color and semi abstract imagery that has a unique sense of intrigue. Students will come away not with a finished piece, that is not the goal, but with a repertoire of experience in melding the techniques. Arrive committed to experimenting with this unique combination of layers in a playful loose way, to become familiar with the process and see its potential.

Students should bring:

• A dozen or so sponges of varying size
• 7 containers for dye, yogurt or cottage cheese pots are fine.
• Your own scissors or rotary cutter and mat
• Any embellishments you would like to possibly include
  

FOR MORE INFORMATION OR TO REGISTER:
Call 604-883-2380 or e-mail us

Handpainted Paper: For Collage, Gift Wrap or Ornaments

Sat. Dec. 12th, 2009  10am-4pm

INSTRUCTOR: Jennifer Love
FEE: $80.00 plus GST; includes all supplies and equipment
REGISTER: Call 604-883-2380 or e-mail us   

There are many different ways to create pattern, colour and texture on paper. This workshop will introduce you to some of these methods, using supplies and equipment that you’ll find in the most surprising places.  This is a fun, quick way to experiment with techniques that can be directly translated to fabric printing. Your handpainted paper can be used for wrapping paper, covering boxes for gifts or storage, making ornaments and cards… or as a great work of art to hang on the wall!

Supply fee provides:

• Paper – 2 large sheets for each student (extras will be available)
• Acrylic and/or poster paint – numerous colours including primaries plus black, silver, copper, etc. to share with other students. Also rock salt and crayons.
• Printed information sheets
• A selection of rollers, paint brushes, foam brushes etc. for use during the class.
• A selection of foam and wood printing blocks, stencils, textural items for making impressions,
  masking tape etc. for creating designs – for use during the class
• Large plastic plates to mix and roll paint on; plastic spoons; wide-mouthed, plastic containers for water.
  Plastic sheeting for monoprinting

Please bring:

• Apron or wear old clothes
• A drying rack if you have one (we have several but extras are always good)
• A hair dryer if you have one
• At least two large plastic sheets on which to place and layer painted paper for drying
• Textured household items (such as heavy netting, dish-drainers, non-skid mats, hard plastic grids…)
  to print designs and create textural marks. I will have lots of these but if there’s anything special you’d like to try, bring it along.
  

FOR MORE INFORMATION OR TO REGISTER:
Call 604-883-2380 or e-mail us

Design Inspiration from Art and Architecture

Tuesday through Saturday, October 27 to 31, 2009
10:00 a.m. to 4:00 p.m. each day.

INSTRUCTOR: Anna Hergert
FEE: $550.00 plus GST ($27.50) 
REGISTER: Call 604-883-2380 or e-mail us

Are you a textile artist ready to embark on a wonderful journey exploring famous art works or architectural styles for personal design inspiration? Look no further! This course will provide you with the information and acquisition of skills for immediate implementation or future projects away from the classroom.

The goal is to analyze famous works of art and architecture with the help of simple exercises and your imagination. You will develop paper designs which may be translated with the help of your selected fabrics into breath taking original textile and quilt designs in the future.

The class room journey begins when each participant selecting an artist or architect. We will follow a well laid out plan of design exercises analyzing and evaluating color, texture, shape, form, and line to reach a better understanding of good composition. Designing on paper will form the premise of the first three days in the workshop. Days 4 and 5 will concentrate on translating these designs into fabric. 

Supply List for “DESIGN INSPIRATION FROM ART AND ARCHITECTURE”

• One or two books/calendars of your chosen artist/architect
  (Please note: Choose an artist/architect that is fairly well known from
  past or present. Do not choose a quilt  or textile artist!)
• Sketchbook (9 x 12”), pencils, colored pencils or crayons
• Graph paper and tracing paper
• Black and White acrylic paints, small brush
• 1 or 2 colors of acrylic paint
• Paper scissors
• Ruler and Compass
• 2 sheets of black construction paper
• Newspaper or plastic sheet to protect work surface, wipe up cloth
• Styrofoam meat tray, small water container, foam brush
• Colorful magazine (discarded, such as travel or home decorating)
• glue stick, scotch tape
• note paper
• 3 - 4 sheets of card stock or water color paper (9 x 12")
• sewing machine in good working order with all attachments, extra needles and the manual
  (bring a grounded extension cord just in case it is a long reach for the plug in)
• selection of fabrics (batiks or hand dyed/printed fabrics are preferable)
• approx. 1 yd. of paper-backed light weight fusible (Pellon preferred)
• selection of threads to compliment and contrast the fabrics
• fabric oil sticks (optional)
• beads (optional)
• any embellishments you may think will be of interest 
• cotton embroidery floss or fine knitting/crochet/weaving yarns (for color studies)

The instructor will provide:

• Additional books of artists/architects – just in case a student has a change of heart
• Mat board strips for color studies
• Threads and yarns for additional color studies
• Printing implements and supplies
• Handouts for each class
• Extensive samples

SUPPLY FEE: A supply fee of $ 5.00 per student will cover the expenses of various additional supplies

Warm Feet (Felted Slippers)

Saturday, November 7th 10:00am – 4:00pm * Workshop is Full
Second day – Sunday, November 08th (same time and cost)
Registrations are now being accepted.

INSTRUCTOR: Ursula Bentz
FEE: $90.00 + $4.50 GST
        (supply fee TBA)

Felted Slippers Student Supply List:

• Well-fitted pair of socks
• Nylon netting
• Old towels
• Bamboo mat
• Gloves
• Plastic Apron (you will get wet)
• Sponges
• Sharp Scissors
• Pencil & Paper (notebook)
• Measuring Tape
• Bubble Wrap (36” x 36”)
• Permanent marker
• Needle and thread
• Embroidery yarn or wool yarn for surface design
• Your lunch! (there is a microwave and fridge in the workshop space).
  Coffee, tea and hot muffins will await your arrival in the morning.
• If anyone has a washboard, please bring it……

Ursula will provide felting fibres for the class – there will be a supply fee for these fibres –
amount to be determined. (Usually approximately $20.00)

FOR MORE INFORMATION OR TO REGISTER:
Call 604-883-2380 or e-mail us

Felted Flowers and Collars

Saturday, October 17th, 2009
10:00 am

INSTRUCTOR: Ursula Bentz
FEE: $90.00 + $4.50 GST
       (supply fee TBA)

FOR MORE INFORMATION OR TO REGISTER:
Call 604-883-2380 or e-mail us

Bull Kelp Baskets

DATE: Saturday, Sept 26, 2009 10:00 a.m. – 4:00 p.m.
INSTRUCTOR: Joanne Waters
FEE: $90 + $4.50 GST (includes all supplies & equipment)

Turn beachcombing into an art form!

Students will learn how to find and work with bull kelp to create two sculptural baskets.  In the morning you will create a knotless netted or lace basket and learn how to mount it onto a piece of driftwood.  In the afternoon you will create a random basket which will dry at home on a form. 

Demonstrations will be given for mounting the random and several other types of baskets.  You will also be shown other materials that can be used for the knotless netting technique.

All materials will be supplied.  Students are asked to bring their lunch, kitchen scissors and an old bath towel.


FOR MORE INFORMATION OR TO REGISTER:
Call 604-883-2380 or e-mail us

The Painted Book with Martha Cole

This workshop will introduce the participants to a unique process of creating a hardbound book in which the painted interior text sheets and the cover are created simultaneously. Initial papers and fabric cover are created using traditional wheat paste techniques in contemporary ways in combination with a variety of multi-media techniques. The focus will be on combining text and imagery using stitching/collage/multi-media to create and sustain a concept through the length of a book. All the essential bookbinding skills are taught in the workshop and no special calligraphic skills are needed. A sense of exploration and adventure and a willingness to try something new are definite assets.

Level: Beginner to Advanced
Length: 5 days
Materials Fee: TBA

STUDENT SUPPLY LIST

Participants should come with a general theme and a related text in mind  e.g. spring, the wind, starry skies, etc. The text should be 25-200 words about any subject with which you would like to work. You could also give some thought to appropriate color ranges. Bring some patterned/textured papers for collage, bits of fabrics with different textures and surfaces, rubber stamps, etc. The theme shouldn’t be too specific, because the background imagery is done in quite an abstract manner.

If you have some specific imagery (photos, bits of text or significant words, maps, etc.) that you think might be compatible with your text, bring those along as collage options. Get them photocopied in several sizes in either Black/White or in color. Use either a laser or a commercial photocopier – don’t just enlarge on your inkjet printer those inks are water-soluble and the images will blur during the collage process.

GENERAL ALL-PURPOSE TOOL BOX:
This should include a variety of pencils/pens, eraser, glue stick, paper scissors, masking tape, and utility knife.
You will be adding text to your books, so bring some text writing options (fine tipped permanent markers, pen & ink supplies, gel markers, colored pencils, etc). Whatever supplies/tools you most like to use!

If you have any bookbinding tools (darning needles, thread, weights, paper clips, callipers, bone folder, etc.) include them. Basic bookbinding equipment will be supplied for the class if you don’t have these items.

• Roll of removable tape and a set of yellow Post-it notes
• Ruler (18” x 24, metal if you have it)
• Cutting mat, and Olfa cutter (optional)

BOOK PRESS:
If you actually have a book press or a large flower press, that would be ideal. The interior size between the screws should be at least 9 x 12. If not, bring 2 boards (approx. 9 x 12 x ½ )and 4 C-clamps from the hardware store.

PAINTING AND MULTIPLE-LAYERING OPTIONS:
The basic media that will be presented is wheat paste  a mix of acrylic paint in a wheat starch base. On the first day, this will be applied to both sides of large pieces of paper (the interior pages of the book) as well as to the fabric pieces for the cover.

Bring:

• Glue brushes (1/2  2 bristle brushes - from hardware store)
• Several small to medium-sized plastic containers with lids
• Apron and/or old clothes and gloves
• Any mark-making tools (old brushes, scrapers, adhesive spreaders, etc.)
• Several small yogurt containers and/or muffin tin
• A tray to carry paint back to your work station
• A large white plate or plastic lids to mix paint on
• Small sponges, a couple of paint brushes (stiff bristles)- ½” – 2” wide,
• 1 large sponge and 4-ltr. Ice-cream bucket for clean-up
• Paper towels
• Masking tape
• Any rubber stamps you may have (optional)
• 2 m. unbleached, medium weight cotton (plain white is OK, too)– pre-washed and ironed
• Cut into 12” x 12” squares.

As we are working, we will collage a variety of elements to enhance your interior pages.

Some possible suggestions are: (Bring what you have)

• A variety of thinner decorative papers or textured rice papers
• Thin-ish fabrics, bits of fabrics with appropriate patterns and/or textures, cheesecloth, shiny and/or metallic fabrics, satins
• Interesting threads and knubby yarns
• Rubber stamps, handmade or commercial
• Photocopied images and bits of text in a variety of sizes
• Further enhancing also happens later in the workshop. Additional options at this point are: (Bring what you have)
• Any small embroideries, bits of lace, ribbons, etc.
• Stencils/stencil brushes and pastes (optional)
• Glitter, gold and/or other metal leafs and foils (optional)
• Colored pencils
• Oil pastels
• Chalk pastels

BASIC SEWING/STITCHING KIT:
Items can either be glued or hand stitched into the interior and sewn directly onto the cloth cover before it is attached to the hard board. A basic sewing kit should include:

• A variety of needles, scissors (both large and small), seam ripper, tweezers, thimble, and a darning needle for sewing the book together
• A variety of threads (some metallics, some shiny, embroidery) in a variety of thickness for both machine and hand stitching
• A collection of scraps of fabrics, both sheer and opaque, with or without patterns, and any embroideries that you think are appropriate to your theme

INSTRUCTOR: Martha Cole
FEE: $640.00 + $32.00 GST
REGISTER: Call 604-883-2380 or e-mail us

Colour Pizzazz:
Painting Colour Where you Want It

Preparation using silk for Weaving:

Successful warp painting can also be done using wool or any other animal fibre.  Finer yarns are more successful than thick ones because of dye penetration. 

Warps and wefts should be prepared in the same way but because of the huge choice of fibre and setts involved, you would have to determine these on your own or get help in the preparation session.

A.  Notes:

• warp for an 8-inch scarf  -  this allows you to play with the sett in case you want to have the sett closer which results in 7” - 7½” depending on how much change is made
• for silk scarves” you can use various silks and silk/wool/exotic animal blend
• weave a balanced twill for nice drape using the same weft as warp or create a slight warp emphasis using a finer weft
• basic structure would be 4-shaft herringbone twill, having the twill change direction for each painted chain or use a favourite twill pattern
• more complex structure examples are 8-shaft twill blocks, plaited twill
• the simplest painting is a single painted chain, threaded randomly for 4 or 8-shaft twill

B.  Measurements:  (make warps longer for extra length and/or extra waste)

You can prepare warps for a single, two, or three scarves.

1 scarf:

• guide thread 2-3/4 yards,
• allows 10” tie-on, 70” weaving and 18” waste

2 scarves:

• guide thread 5 yards
• make mark 95” from cross end for separation
• allows 10” tie-on, 2 x 70” weaving, 2 x 7” between scarves for fringes, 18” waste

3 scarves:

• guide thread 7-1/3 yards
• make mark 95” from cross end and 84” from first mark for separations
• allows 10”tie-on, 3 x 70” weaving, 4 x 7” between scarves for fringes, 18” waste

WINDING WARPS

Method #1 - Simplest:

• figure out sett and add four or more extras for floating selvedges if necessary to weave structure and insurance threads
• prepare a single warp in the usual way
• tie off the cross loosely
• if using a raddle counter, make it loose for dye to penetrate
• tie one tight choke before the cross or raddle counter using a bow tie
• tie a loose loop around each end
• write info about warp on masking tape with ballpoint pen and affix to the cross end loop, ie. #ends, sett, etc.
• if you are making more than one scarf, you can make tight chokes on your warp at each separation mark of the guide thread

Effects of Method #1:

• an entire warp done this way and woven in straight twill or plain weave will give you a traditional “ikat” look
• if you are comfortable with 8-shaft block twill, you can paint a single warp and when you come to thread your warp, you can randomly switch your herringbone direction between the front 4-shaft twill (shafts 1, 2, 3 & 4) and back 4-shaft twill (shafts 5, 6, 7 & 8)
• for a 4-shaft twill randomly switch directions: 1, 2, 3, 4 repeat as desired, skip a shaft and reverse, 2, 1, 4, 3, 2, 1 repeat , then skip a shaft, reverse, 3, 4, 1, 2, 3, 4 repeat, etc.)

Method #2 - Making Separate Chains (especially for 8-shaft block twill/4-shaft herringbone)

• divide your total warp into 5 chains - they can each be the same number of ends or each different (keeping multiples of 4 often easier for threading)
• add in one thread for each chain for insurance
• prepare the first chain and tie it off as in Method #1
• number this chain and subsequent chains on masking tape affixed to end loop
• leave that chain on the warp board/mill and prepare second chain
• proceed until all chains are done, then tie off total warp at separation marks if making more than one scarf and make loops around entire warp at each end

Some alculations, If you wish to follow my examples:

Scarf in 20/2 silk

            warp:  8” wide @ 30 epi = 240 (+ 7 extra) = 247 ends
            Chain 1:  40 ends (+ 2 insurance against breakage*)
            Chain 2:  52 ends (+1)
            Chain 3:  48 ends (+1)
            Chain 4:  64 ends (+1)
            Chain 5:  36 ends (+ 2)
            *extra selvedge can be used for float on 8-shaft weaves
            weft:  large skein 30 grams )

Scarf in 30/2 silk

            warp:  2-2/3 yds., 8” wide @ 36 epi = 288 (+ 4 extra) ends
            Chain 1:  44 ends (+ 2 “insurance”)
            Chain 2:  64 ends (+1)
            Chain 3:  52 ends (+1)
            Chain 4:  72 ends (+1)
            Chain 5:  56 ends (+2 )
            weft:  large skein 25 - 30 grams

A hint for using slippery silk.   You can prepare your warp using finer yarns singley directly from the skein mounted on a swift but try setting up your swift horizontally rather than vertically (the edge of an open door is good). 

If you are creating a “ball” on your ball winder, make a core first by cutting down a paper towelling tube (t-paper tubes are usually too small) and placing it over the ball-winder stem and cut slits in the paper to catch the thread on top.  Wind carefully onto the paper tube and remove the “cored ball” when finished.  This helps to keep the ball from collapsing on itself.  Place the ball into a container.  A “slip” of panty hose or stocking can also help keep the ball intact.

PREPARING WEFTS

It is easiest to work with large skeins.  Make your skein on a swift and tie it off loosely in a figure 8 in at least three places.  Don’t short yourself of weft - you can always using the extra dyed yarn in another project (I have often made beautiful scarves using “weftovers”).  Calculating amount of weft:

• if you are not sure, the rule of thumb for balanced weaves, make weft same amount as each scarf (weigh total prepared warp and divide as necessary for 1, 2 or 3 scarves)
• for warp emphasis scarves, using finer wefts from 20/2 to 34/2, wind off 25-30 grams, from 12/2 - 20/2 wind off 35-40 grams

PREPARING SKEINS FOR DYEING

• prepare large skeins of no more than 4 ounces
• the skeins could be 50” - 60” in length when lying on the work table
• tie off loosely with a figure 8 in at least four places
• prepare multiple skeins in this way.  

PREPARING ROVING FOR PAINTING

• roving should not be too thick as it will be difficult to get the dye to penetrate evenly
• if you have thick roving, separate it out lengthwise as neatly as possible into thinner rovings, winding each gently and loosely around your hand

Silk and wool yarns and roving available from:

Yvonne Stowell at FibreWorks Studio & Gallery, Madeira Park…..604-883-2380
www.gunboatbaylodge.com/fibreworks.html
email: fibreworks@gunboatbaylodge.com

Silk yarn and roving available from:

Treenway Silks, Saltspring Island.....1-888-383-7455
www.treenwaysilks.com
email: silk@treenwaysilks.com

Silk yarn available from:

The Silk Tree, Granville Island, Vancouver.....604-687-7455
www.silkyarn.com
email: silktree@silkyarn.com

DYE
We will be using “premetalized acid” dyes (CIBA and Lanaset). You will work from liquid stock solutions so do not require a mask.

METHOD
This is a direct application method using stencil paint brushes

FIBRE
The acid dyes we are using are fibre specific for protein fibres: wool, silk. llama, alpaca, mohair, angora, cashmere, dog, cat or any other animal you can think of, and nylon. The fibre can be any blend of these, but remember that synthetic components will not take the dye. Fibres do not have to be “natural” colour as pale colours can be overdyed.

FIBRE FORM

1. single or plyed yarns for scarf warps and wefts
   
2. yarn skeins
   
3. roving

PREPARATION
On Day 1 you can prepare your warps & wefts, skeins, roving- bring all your fibre or purchase some from Fibre Works. You may have prepared some already. Depending on how fast you work, you may want to several projects ready to paint - if you don’t get to them, they can be dried and used later. We will prepare the presoak bath for the fibres to sit in overnight. There will be discussion and demonstration preparing a stock solution. There will be plenty of “inspirational” pictures for you to choose
On Day 2 you will choose your colours, paint and set your dyes

BRING

• fibre
  
• a 5 to 8 litre bucket
  
• 500 ml size (sour cream type) containers with lids (6 would be good)
  
• box of plastic wrap
  
• roll of paper towels
  
• stencil brushes marked with your initials if you have them
  
• an old shirt or apron
  
• lunch

INSTRUCTOR: Barby Paulus
FEE: $160.00 + $8.00 GST
REGISTER: Call 604-883-2380 or e-mail us

Workshop : Deconstructing/Reconstructing a Garment

Workshop Description Using existing garments, deconstructing and reconstructing them into sculptural, wearable jackets, coats or vests. 

This is an intensive course.  The student will be introduced to pattern design, pattern draping and styling on the mannequin (dress form).  Students will transform an existing garment such as a Harris Tweed jacket or coat, etc., into a tailored, fitted, wearable piece.

The use and introduction of recycled, natural silk, cotton, linen and wool is encouraged. Some finishing techniques will be taught.  Students will explore a variety of styles and techniques.  In this class the emphasis will be the transformation and use of existing garments, the attention to creativity, design, pattern making and draping, creative problem solving, identification and use of natural materials, and craftsmanship.

Participants in this class should have some sewing skills, and bring their own sewing machines, if possible their own mannequins (dress forms).

• Day 1 – Introduction to the mannequin, identification of existing garments and recycled materials, deconstruction of a garment.
• Day 2 – Draping and styling on a mannequin, drawing and marking of outlines, introduction of recycled materials.
• Day 3 – Introduction of detailing techniques, creative problem solving.
• Day 4 – Reconstruction of garment, introduction of interfacings, finishing techniques, fittings.  Possible completion of garment depending on the extent of individual projects, presentation and feed-back.

Supplies:

• 2 TO 3 garments to choose from.  Please pre-wash all garments. 
• A variety of complementary, natural recycled materials such as velvets, brocades, linens, silks, flannels, etc.
• 2 yards of unbleached cotton
• Pins
• Needles
• Sharp scissors
• French curve
• Pencils
• Paper
• Tape measure
• Thread
• Sewing machine
• Dress form

INSTRUCTOR: Angelika Werth
REGISTER: Call 604-883-2380 or e-mail us

Workshop : Dimensional Seamless Felting

In this one-day workshop you will create a seamless (no sewing required) container – felted bag, tea cozy, pillow cover, etc., using a flat resist for the shape, felting fine wool and silk together.  Other materials for embellishment/surface design will be incorporated, as well as creating handles.  Creative shaping and designing will be explored.

Student Supply List:
Towels, gloves, apron (you will get wet), sponge, sharp scissors, needles and threads for embroidery, scraps of materials, yarns, fabrics (preferable with open weave).  Pencil and paper and your lunch.  Coffee/tea and morning muffins will be provided.

INSTRUCTOR: Ursula Bentz
REGISTER: Call 604-883-2380 or e-mail us

Deconstructed Screen Printing - Intuition, Accident and Technique
3-Day Session

Explore a different facet of screen printing on fabric; the unpredictable, the intuitive, the “happy accident”. Using fiber reactive dyes, deconstructed printing and polychromatic printing,  experiment with the silkscreen as a painting and monoprinting tool  to create fabrics of depth, texture and personal imagery. The resulting fabric may be used as an end in itself or a point of departure for further embellishment.
 
No screen printing exp. necessary, some experience  fiber reactive dyes helpful but not necessary.

Experience level  Beginning to intermediate.

Supply fee – tba –
to cover cost of dyes, etc. (will advise students when Kerr has contacted Maiwa for prices – estimated at $35/student).

Materials for students to bring:

• Fabric—3 to 5 yd –in 1/2 to 2yd lengths—up to you. white or light colored silk, rayon, cotton, linen, silk/rayon velvet (protein or cellulose for fiber reactive dyes)   NO PERMA PRESS OR BLENDS.
  
  NOTE - I do not recommend bleached muslin-does not always take dye well--unbleached is ok. You might also want to try preprinted fabrics-commercially printed or those of your own. Prewash your fabric in hot water to remove any sizing or dirt. In addition to the above, feel free to bring your own predyed fabrics to experiment with.
  
  WE WILL BE SODA SOAKING OUR FABRICS during class --if you normally soda soak your fabric and want to do so prior to class PLEASE DO!!!!
  
  
• Rubber gloves (disposable OK)
  
• Glue stick
  
• Pencil
• Sketch pad-newsprint is fine-at least 9 x 12
  
• Inexpensive pack color markers (Crayola 24 pack is fine)
  
• T-pins -more than 80--they are to pin fabric tightly to print table
  
• Duct tape for taping screen if not already taped-DON’T get gorilla tape-too hard to use
  
• Plastic to cover fabric when batching-large black trash bags are perfect.
  
• At least 5 short rubber spatulas (5” including handle) or tongue depressors or plastic spoons (for stirring dye)
  
• Scissors-fabric pair and a small sharp pointy pair for paper and “stuff”
  
• Foam brushes - at least five 1”
  
• at least 8 small containers W/LIDS (8oz yogurt perfect)
  
• One quart container with lid
  
• Muffin tin or something to use for palette
  
• Hairdryer (if you have one)
  
• Old clothes or apron to protect yourself
  
• Old towels or roll paper towels—the towels come in handy—try to bring instead of paper towels
  
• Textural stuff - floor mats, corrugated cardboard, plastic doilies, fat string, rubber stamps, material to make new stamps, embossed wall paper, DON'T go out and buy a bunch of stuff for this-bring what you have--any texture NOT higher than 1/4” might work

Optional:

• Brushes—a size 12 watercolor brush is good to have-in addition to this, regular paint brushes, watercolor brushes - all sizes (bring whatever you have, don’t go out and buy brushes—the foam brushes above are fine.
• While this workshop is geared primarily towards fabric, the dyes and processes also work extremely well on good rag  printmaking papers that are lightly or unsized-
• Any equipment/materials that you have and like to use – squeeze bottle, stamps, paint brushes, silk screens
• A silkscreen - somewhere around 8x10, 12x18, 16x20- 10xx or 12xx mesh (can be ordered from www.dickblick.com  1.800.447.8192) If you want to invest in a squeegee, Speedball makes an inexpensive 9”squeegee for about $8.00, this would be fine. Kerr will have small squeegees to use during the workshop.
  without stencils on them, thermofax screens with images,

Kerr is bringing small screens for student use-each student will have one small screen to use during the workshop-you might want to have an additional screen—the 8x10 or 10x12 size is a good small screen if you do not want to invest much in the beginning.

Design - Intuition and Theory
2-day session

Good intuition can be ingrained theory, we "know" (and no longer have to think about) the principles of design. This workshop will help students know why a piece is "right" and what to do when it is not.

Through numerous quick design exercises, discussions, references and play, students will enhance their awareness and critical skills. Working within a small format and using a variety of media on fabric (inc. charcoal, caran d' ache, monoprint, screen printing and collage), participants will enlarge their mark-making vocabulary as well as their design skills. Expect to emerge excited, knowledgeable, and full of new ideas.

Student Materials List:

• Scissors
• Color markers (inexpensive pack of 24 )
• Pad tracing paper- approx 9” x 12” 
• Sketch pad- approx 9” x 12”
• Glue stick
• Sharpie marker
• Pencils
• Masking tape to tape fabric down
• t-pins for pinning fabric
• fabric to work on- appx 2 yards cotton (we might use only one yard---)

Kerr Will Bring (covered by supply fee - $16.00

These items are for students to use during the workshop

• Charcoal
• Caran d ache crayons
• Small screens/squeegees (to use during workshop)
• Fusable web
• Extender base for textile paints
• Plexi for monoprint
• Needles, embroidery thread
• Textile paints

We will be creating a series of small pieces.

INSTRUCTOR: Kerr Grabowski
FEE: $730.00 + $36.50 GST (add. materials fees)
REGISTER: Call 604-883-2380 or e-mail us

Workshop : Tapestry of Spring

“Unfold your joy through gesture, exploration and adventure within drawing and painting.”

During our two-day Spring Equinox studio session on the Sunshine Coast, we listen for nature’s rhythms, cadences of the muse of contemplation and renewal.  Blossoming of internal dance of sun and moon, expressed a painting the garment worn in nature.

We will explore reflection and influence on the figure in landscape – perhaps a mirror of ourselves, imaginary dreams and creative intention of peace, beauty and grace honouring the goddess of Spring – Flora.

Supply List: 
Supply fee of $100 covers paper, paints and small journal.

Students to bring own brushes, bag lunch (tea, coffee and muffins are provided each morning).

INSTRUCTOR: Anna Hawthorne
FEE: $205 + $10.25 GST (add. materials fee – approx. $100/student)
REGISTER: Call 604-883-2380 or e-mail us

Handpainted Paper :
for Collage, Gift Wrap or Ornaments

There are many different ways to create pattern, colour and texture on paper. This workshop will introduce you to some of these methods, using supplies and equipment that you’ll find in the most surprising places.

This is a fun, quick way to experiment with techniques that can be directly translated to fabric printing. Your handpainted paper can be used for wrapping paper, covering boxes for gifts or storage, making Christmas ornaments and cards… start getting ready for the
holiday season!  

INSTRUCTOR: Jennifer Love
REGISTER: Call 604-883-2380 or e-mail us
                                       

Workshop : Batik "Hot Wax" Workshops

Beginners day one:

• Students will start with making marks with brushes and wax.
• There is an interaction between the cloth , the tools and the movement of your hand.
• In the afternoon the tjanting tool will be used, this is more difficult.
• Students will use cotton, silk, etc. to see the effect on different fabrics.
• Teacher will explain how to achieve depth.
• The fabric will be painted with flowable textile paint.

Beginners day two:

• Students will use the traditional copper stamp to apply the wax ( tjap)
• Also, exploring things from the kitchen, or other materials that can be dipped in the wax.
• Combinations with the brush, tjanting, tjap.
• The fabrics from day one will have another layer of wax and paint.
• The wax will be removed by ironing between old newspapers.

Advanced day one:

• We start with making a printing block and use this to make a pattern on the cloth.
• Wax will be applied over this pattern with brushes or the copper stamp from Indonesia ( tjap).
• Also, we start on a piece of coloured fabric.
• Paper will be used with the same tools and paint.

Advanced day two:

• Manipulating the fabric, working on several layers of cloth at the same time.
• Working on the cloth with a third layer of wax and paint.
• Ironing out the wax.
• A theme will be given later.

“hot wax” student supply list

** Wear old clothes
** Bring your lunch; tea and coffee and fresh muffins will be available at the studio, but bring your own if you have special requirements.

Beginners

• a few metres of thin cotton, scraps of other natural fabrics. some silk fabric
• A waxpot (electric frypan) if you have (or can borrow) one. PLEASE LET US KNOW ASAP IF YOU CAN BRING ONE – we prefer to have at least one for every two students, so we will have to beg, steal or borrow whatever extras are required..
• if you have: tjanting tool.
• if you have: old things from the kitchen, like potato masher etc.. Things you can dip in the wax.
• a variety of brushes, natural hair, cheap, for the wax.
• brushes for the paints and dyes, some small, some wide.
• containers etc. for your paints .
• a piece of soft fabric to make a small printing area on your table
• masking tape
• gloves
• hairdryer
• embroidery hoop app . 25/30 cm.
• scissors.
• plastic to take wet fabric home.

Advanced class add:

• a variety of papers , whatever you have
• 2 paper plates
• 2 foam rollers
• 2 pieces of wood to make a printing block, 5 x 8 x 2 cm ( app)

A SUPPLY FEE (estimated at $35) PAYABLE AT THE CLASS.

The following items will be supplied –

• Batik wax
• Fabric pieces for sampling
• Flowable heat-set paints (SetaColor and SetaSilk); primary colours and black
• Newsprint and paper for ironing
• Teacher will provide tjantings and tjaps.
• Teacher will bring 3 small waxpots and  and tools. doublesided tape and printing material

INSTRUCTOR: Els van Baarle
QUESTIONS? Call 604-883-2380 or e-mail us

Workshop: Mushrooms for Colour

In the last few decades, the discovery that some mushrooms contain pigments has intrigued fibre artists around the world.  Experiments continue as more and more mushrooms are tried - with the right varieties and a number of techniques, the entire colour spectrum has been achieved, including the elusive blue! 

In this workshop, participants will learn to recognize some of the dye mushrooms that can be found on the Sunshine Coast and will play with them to see what results appear from the dyepot.

INSTRUCTOR: Ann Harmer
QUESTIONS? Call 604-883-2380 or e-mail us

Workshop : Photographing Your Artwork

Through the use of slides, lecture and demonstration, Barbara Cohen will teach participants how to effectively photograph their art work (3D) using largely daylight and a minimal amount of equipment.  Whether using a SLR camera or a digital one, learning to “see the light’ and setting your piece up properly is essential for a clear and accurate representation of your work.  Types of backgrounds, films to use and printing will also be discussed as well as numerous tips Barbara will pass on from her experience.  Whether using photographs for applying for juried shows, media or portfolio work, she will teach the techniques to set up a shoot to get the best results.  Basic knowledge of how to use a camera is a requirement.

Participants are encouraged to bring a piece of their art work (nothing so large that it is difficult to move or handle) and slides or photos that they have taken and would like feedback on.  Barbara will get to as many pieces as time permits.
What participants get out of the workshop:

• increase your chances of being “juried in” by photographing your own art work to create professional-looking portfolio slide images using a regular film camera
• learn what makes a good slide/poor slide
• learn how to set up a shot using minimal equipment and existing light
• practical knowledge you can put to use right away

INSTRUCTOR: Barbara Cohen
QUESTIONS? Call 604-883-2380 or e-mail us

Workshop : Bulb Kelp Baskets

Turn beachcombing into an art form!

Students will learn how to find and work with bull kelp to create two sculptural baskets.  In the morning you will create a knotless netted or lace basket and learn how to mount it onto a piece of driftwood.  In the afternoon you will create a random basket which will dry at home on a form.  Demonstrations will be given for mounting the random and several other types of baskets.  You will also be shown other materials that can be used for the knotless netting technique.

All materials will be supplied.  Students are asked to bring their lunch, kitchen scissors and an old bath towel.

INSTRUCTOR: Joanne Waters
QUESTIONS? Call 604-883-2380 or e-mail us

Workshop : The Painted Quilt

Expand your free machine quilting repertoire and experiment with hand painting to explore the “Painted Quilt”. 

We'll work with some traditional free-motion techniques as well as introduce some new ideas!  We will be experimenting with thread colours and fabrics in our quilting designs and then painting the surface both before and after quilting using rich, glorious colours.

We will discuss and sample painting figures, animals, flowers or anything else that takes your fancy directly to fabric and then what to do with your painted masterpiece.

 Students in this workshop can create a series of samples exploring various techniques or for those with a theme or some thoughts on subject matter these samples could be the beginnings of a new design or a completed small project. If you have been “exploring” in a sketchbook or are working on some possible design ideas, please bring them along!

Students will bring their own fabrics and threads but all the paints will be provided.

Supply list will be provided.

INSTRUCTOR: Catherine Nicholls
QUESTIONS? Call 604-883-2380 or e-mail us

Workshop : Inspired by . . . Art

We’ve all seen those wonderful paintings: old masters, impressionists, abstract…and admired the shapes and colours.

This class is designed to guide students through the design process using these classic works as sources of inspiration. We aren’t trying to re-create the work but rather identify and explore the aspects of the art works that appeal most.

Each student will work from their chosen source of inspiration to create a design and eventually a small textile piece inspired by the work of art that excites them most. This class focus’s on the development of a design, from that initial “spark” through to creation of a workable design or pattern.

Images of art work will be provided but if you have images of art work that you are particularity attracted to please bring it along! Please respect copyright if you are inspired by a contemporary artist.

INSTRUCTOR: Catherine Nicholls
QUESTIONS? Call 604-883-2380 or e-mail us

Workshop : Freeform Knitting & Crochet

Class duration:  2 days (12 hours teaching time)
During the first half of this workshop students will randomly experiment with their hooks and needles to create small sections of knitting, crochet, or a combination of both crafts together.  As the class continues they will learn some of the more difficult stitches, and will create a few unusual motifs that work well when freeforming. 
They will then study some basic pattern shaping techniques, and discover how their pieces could be joined together to make wonderfully tactile fabrics that can be fitted to a pattern of any size or shape.

Skills Needed:   While it is possible to ‘freeform’ using either just knitting or crochet alone, to get the most from this class and to produce the most tactile fabrics, potential students should have at least some basic skills in both crafts.

Materials List: Participants should bring a good variety of different yarns, in colours that they think will go well together.  If they have already dabbled with freeform-style knitting or crochet, they could bring any previously-made swatches or experimentations, as these can be used as starting points onto which they can join new sections.  They will also need both knitting needles and crochet hooks (in various sizes that approximately suit the weights of the yarns they have chosen) and a pair of scissors.

Workshop notes covering all of the stitches and techniques to be used in the class will be supplied.

INSTRUCTOR: Prudence Mapstone
QUESTIONS? Call 604-883-2380 or e-mail us

Workshop : Freeform Knit & Crochet Handbags

Class Duration:  Full Day (6 hours teaching time)

General Workshop Description:
Students will learn a range of techniques for creating and combining various freeform motifs made using both knitting and crochet stitches, whilst beginning to construct their own one-of-a-kind wearable art handbag.  

I will bring samples and swatches to help provide inspiration, and will demonstrate all of the more unusual stitches and techniques. I will also explain how to join and complete the bag once all of the pieces for the fabric have been created.  Each student will receive handout sheets detailing patterns for all of the stitches and motifs that will be covered on the day, together with a page of hints and tips to remind students of different methods that can be used when finishing their bags.  Given prior notification, I could supply the soft plastic mesh bag frames that I use as a base for a lot of my handbags, if required.

Skills Needed:   Potential students should be familiar with at least basic stitches in both knitting and crochet.

Materials List: Participants should choose a colour scheme, and bring along a variety of yarns in that colour range.  I would recommend that each student bring with them at least 12 different yarns in colours that they feel will work well together - the selection can include left-over yarns and odd balls.  Any thickness or fibre composition is OK, but please try to include both smooth and textured yarns.  Also bring knitting needles and crochet hooks that approximately suit the weight of the yarns chosen, a pair of scissors, and a couple of large safety pins.

INSTRUCTOR: Prudence Mapstone
QUESTIONS? Call 604-883-2380 or e-mail us

Workshop: Cedar Bark Weaving — Beginner (6 hour class)

Sharing the passion inherited from her Salish grandmother for creating containers and wearables from the forest, Jessica Casey offers this one day introduction to cedar bark weaving. You will learn the basics of checkerboard weave basket and twining techniques. Accent the basket with a decorative band of birch or sedge grass, finish it off with a traditional rim. This is the prerequisite for other more advanced basket workshops.

WORKSHOP FEE: $90.00 plus $5.90 GST. Additional $20 supply fee* payable to instructor upon arrival for workshop.
INSTRUCTOR: Jessica Casey
QUESTIONS? Call 604-883-2380 or e-mail us

*supply fee of $20 provides:

• All Cedar bark, reeds, rushes, sedges required to
  complete a small basket

please bring:

• Towel to cover lap/clothes during weaving
• Scissors with 4 – 5” blade
• Lunch

Workshop: Creative Felting

Learn wet felting techniques to make a scarf or purse.

INSTRUCTOR: Ursula Bentz
QUESTIONS? Call 604-883-2380 or e-mail us

Workshop: Monoprinting on Fabric

Explore monoprinting on fabric using various approaches until you discover your own personal direction. This class on  MonoPrinting is about making textures and marks on fabric. You will be producing new and interesting fabrics using pigments.

• Fabric: You should have at least 6 meters of plain white cotton. This can be a variety of different kinds of cotton…off white or even some muslin. The fabric should be prewashed, if possible.
  *Cut at least 2 meters of your fabric into 8 x 11 in.  pieces
• A working surface: about 18” x 24” The best choice for this is a piece of  ¼ in thick plex-glass with finished edges (obtained from a glass store). A piece of white arborite may work.
  DO NOT BRING GLASS OR A COLOURED SURFACE.
• Rubber gloves and rags
• Items for making makes on the surface: stiff brushes, plastic spoons and forks. Combs, grouting tools, chopsticks, film canisters, rubber stamps, etc.
• Items that will act as a resist: leaves, grasses, wool or string, freezer paper,, etc
• Optional but highly recommended…a rubber brayer, any size or more than one size.
• 6-8 plastic plates(ice cream size) and about the same number of spoons.

The paint is included in your course registration.
Please bring 6-8 small jars, or containers with lids to store your paint.

INSTRUCTOR: Pat Crucil
QUESTIONS? Call 604-883-2380 or e-mail us

Handpainted Paper for Collage, Gift Wrap or Ornaments with Jennifer Love

There are many different ways to create pattern, colour and texture on paper. This workshop will introduce you to some of these methods, using supplies and equipment that you’ll find in the most surprising places. This is a fun, quick way to experiment with techniques that can be directly translated to fabric printing. Your handpainted paper can be used for wrapping paper, covering boxes for gifts or storage, making ornaments and cards… or as a great work of art to hang on the wall!  

*supply fee provides:

• Paper – 2 large sheets for each student (extras will be available)
• Acrylic and/or poster paint – numerous colours including primaries plus black, silver, copper, etc. to share with other students. Also rock salt and crayons.
• Printed information sheets
• A selection of rollers, paint brushes, foam brushes etc. for use during the class.
• A selection of foam and wood printing blocks, stencils, textural items for making impressions, masking tape etc. for creating designs – for use during the class
• Large plastic plates to mix and roll paint on; plastic spoons; wide-mouthed, plastic containers for water. Plastic sheeting for monoprinting

please bring:

• Apron or wear old clothes
• A drying rack if you have one (we have several but extras are always good)
• A hair dryer if you have one
• At least two large plastic sheets on which to place and layer painted paper for drying
• Textured household items (such as heavy netting, dish-drainers, non-skid mats, hard plastic grids…) to print designs and create textural marks. I will have lots of these but if there’s anything special you’d like to try, bring it along.

other

Unique fibrearts gallery in a 28' yurt, showcases works from local and international artists - surface design, quilting, basketmaking, woodworking, papermaking, handwovens, handspun yarns and more. Past exhibits include 'The Cutting Edge' - opening exhibit by BC Surface Design Association members. (October 2007)

Artists included: Angelika Werth, Yvonne Wakabayashi, Ursula Bentz, Pat Crucil, Michelle Sirois-Silver, Melissa Woods, Kate Barber, Kaija Rautianen, Julia Manitius, Jessica Casey, Jennifer Love, Jane Kenyon (www.janekenyon.com), Hanna Haapasalo, Dionne Paul, Cher Cartwright (www.chercartwright.com), Brigitte Rice, Anne Marie Andrishak and Kristin Rohr.

Workshop: Handpainted Paper Studio Play Day

You had such a great time at the handpainted paper workshops – you asked for a “play day” with Jennifer – using the Workshop space as a studio with all of the marking items, paints and paper available to continue your exploration – here it is!

The day is yours to create and play - Jennifer will be available to assist with techniques, problem-solve and
answer questions.

*supply fee provides:

• Paper – 2 large sheets for each student (extras will be available)
• Acrylic and/or poster paint – numerous colours including primaries plus black, silver, copper, etc. to share with other students. Also rock salt and crayons.
• Printed information sheets
• A selection of rollers, paint brushes, foam brushes etc. for use during the class.
• A selection of foam and wood printing blocks, stencils, textural items for making impressions, masking tape etc. for creating designs – for use during the class
• Large plastic plates to mix and roll paint on; plastic spoons; wide-mouthed, plastic containers for water. Plastic sheeting for monoprinting

please bring:

• Apron or wear old clothes
• A drying rack if you have one (we have several but extras are always good)
• A hair dryer if you have one
• At least two large plastic sheets on which to place and layer painted paper for drying
• Textured household items (such as heavy netting, dish-drainers, non-skid mats, hard plastic grids…) to print designs and create textural marks. I will have lots of these but if there’s anything special you’d like to try, bring it along

FibreWorks Studio Instructor Profiles archive

Els Van Baarle

My inspiration is based on antiquity and ancient times.
Remains of structures ravaged by wind and weather offer arresting observations.
 
On the surface we discern subtle colors and textures.
This correlates to my technique of layering waxes and dyes.
Just like an old wall reveals a treasure of details when observed up close, so do my fabrics.
What at a first glance appears to be one color becomes a layer of nuances when studied in detail.
Written characters that are a remnant of the past live on through images and runes.
My latest designs are inspired by the remainders of the cultures of people of ancient times.

Els van Baarle bio: Els is a native of the Netherlands. Her work has been shown all over Europe, USA, China and Korea. She has won many prizes with her batik pieces, including QSDS Fabric in 1993-94-97-99. Her work has been published in the following: Textiel Plus, Textil Kunst, Textil Forum, Fiberarts, European Modern Embroidery Design, Creative Silkpainting, the Best of Silk Painting and Fiberarts Design Book 6, Surface Design Journal -  Summer 2008.

Anna Hergert

My work is primarily about the visual and formal - line, shape, color, texture, negative and positive space, and how these design elements communicate with each other and the onlooker. I translate these elements into fabric because I recognize its possibilities. Fabric is sensual and can be manipulated. It can be made to have weight, mass, and texture. It creates atmosphere by reflecting and changing its appearance in light. For me, the result is a material with the potential for an infinite expansion of expression and form.

Barbara Cohen

Barbara began studying at Sheridan College School of Design in Ontario in 1973 where she majored in textiles and began learning photography. For the next 18 years she created three dimensional fibre pieces and taught textile techniques through Continuing Education. The move to creating jewellery came 6 years ago.  Her work can be found in local galleries as well as in national and international ones. For the lst 4 years, her work has been represented at SOFA, both in NY and Chicago, by the Snyderman/The Works Gallery. Throughout her artistic career she refined her skills as a photographer. She ran a part-time business for 6 years by photographing the work of other artists.  This led to her teaching photography workshops to help other artists learn to photograph their own work. Visit www.bcohendesign.com  to view Barbara’s art.

Ann Harmer

Ann Harmer has always gained great satisfaction from making things with her hands.  She discovered fibre arts when she joined the Sunshine Coast Spinners & Weavers Guild in 2005 and is now fascinated by the many possibilities fibre offers.  She is also an avid mushroom hunter, so when she learned that the International Fungi and Fibre Symposium would be held in California in January 2008, she could not resist.  The gathering was all she'd anticipated and more, and she returned home with even more enthusiasm for mushrooms and their potential, not just in the arts, but for their important place in the world's ecosystems.

Pat Crucil - Fibre Artist

• Studied  Drawing and Painting at the Manitoba School of Art and Emily Carr College of Art & Design;
• Studied textiles at Capilano College, North Vancouver
• Exhibited widely in Canada and Internationally
• Founding Member of Sunshine Coast Quilter’s Guild  And Fibre Arts Network (FAN)
• Member of Surface Degign Association
• Taught quilting and surface design for over 25 years

Jessica Casey

"I weave everyday; it is my passion as well as therapy for my soul"

Jessica Casey is a self taught weaver of Coast Salish and Portuguese decent. Jessica spend many childhood hours with her grandmother in the woods. She says it is one of her favourite places to be, surrounded by cedar trees and silence. Jessica harvests and prepares her own materials, using red and yellow cedar bark. She also makes her own dyes for her bark using traditional methods. Jessica makes baskets, hats, and cedar bark clothing. She has recently started weaving Coast Salish blankets on her loom her husband made for her. Though born and raised in Egmont, BC, Jessica currently resides in Sechelt, BC with her 4 "babies" and her handsome husband, Rob.

			BASKETS • 4x4x3 inches, twill weave pattern, with twining, red cedar (sm) • 6x6x4 inches, twill weave pattern, with twining, red cedar (lrg) HATS • twined red cedar bark, diamond pattern. 12" wide 9 PURSES • twill weave bottom, twined sides, cedar roses & olive shells (left) • twill weave bottom, twined body, abalone button snap (right)
BASKETS	HATS	PURSES
Jessica is pleased to share her talents and knowledge with others. She will schedule a demonstration or classes with your group. To schedule a demo or order one of her woven items, please contact her for more information. Jessica Casey — tel: 604-885-3063 or email: spiritfound@dccnet.net			Jessica Casey Sept. 21/05 With every beat of my heart My fingers dance with the cedar and stir memories almost lost Grandmother's and aunt's whisper their knowledge to my soul Encouraging, nourishing, nurturing, to make me and the basket whole For their weaving is in me with every warp and weft they tell me so

Angelika Werth

Angelika Werth has worked in Fashion, Fibre and Wearable Art. She started her practice with a three year dress-making apprenticeship; worked for Yves Saint Laurent in Paris, France and received a degree as Master dress-maker-designer, she immigrated to Australia, then to Canada.

Angelika has had multiple solo exhibitions including her Waistcoat / Wastecoats exhibition at the Alberta Craft Council in Edmonton in 2006, and the Brassiere Series at the Canadian Craft Museum in Vancouver in 1997. Werth participated in invitational / curated group exhibitions in Canada, France, Japan and England and in the United States. Her work was accepted into over 30 juried exhibitions including Fibreworks in Cambridge, Ontario and the Contemporary Craft in BC: Excellence With Diversity at the Vancouver Museum in 2008.  She is a recipient of the 2008 B.C. Creative Achievement Award.

Most of the current work is hand-felted and constructed. 

Her work is found in permanent Public Collections in the BC Provincial Collection, the Community Hospital Collection in Monterey, California, the Cambridge Art Gallery in Cambridge, Ontario and Shuzenji City Hall in Japan. Public commissions include United Churches in Trail and Nakusp, BC, Waldorf Schools in Nelson and Vancouver. There are numerous private commissions.

Angelika Werth is an instructor in the Fibre Department at the Kootenay School of the Arts in Nelson, BC. She also teaches workshops across B. C. related to Fashion, Furniture and Wearable Art.

www.angelikawerth.ca

Anna Hawthorne

Anna Hawthorne – graduate of Nova Scotia College of Art & Design with art works in collections across Canada, Australia and New Zealand, currently works in her studio in Madeira Park, BC

“The PreRaphaelites, textile designer William Morris and Bloomsbury group – Omega Studio lend inspiration and imagery inspired by Romantic Poets Tennyson, Byron, Keats and Shelley.

Perhaps all art, music and writing are threads that lead into ourselves in some way.  Then an expression of this rhythm may be a distillation of spirit in a creative act.  For me, the liminal places are vital for hearing this quiet sound…a mystical, magical place…an interstitial zone between the sea, sky and land…where soul can find itself in a kind of peaceful, silent recognition of one’s interior journey, thereby affirming one’s place in the Dreamtime of our age and culture.

The figure in landscape as painting…is a way in to the labyrinth of wilderness.  We attempt to reconnect with animals, birds and flowers by the simple act of drawing them on paper …we see them as a musical composition in colour and line, bringing ourselves closer to our truth and thereby spiral notes that are found throughout nature, resonate again through art.”

Kerr Grabowski

Known for her playful approaches to dyeing and screening processes, Kerr is the developer of Deconstructed Screen Printing, a technique allowing for a more spontaneous approach to screen printing. She is a studio artist creating whimsically elegant textiles and clothing.

A New Jersey Council on the Arts Fellowship recipient, Kerr has been published in Ornament, Fiber Arts, Surface Design Journal,  Fiber Arts Design Book Six and Silk Painting for Fashion and Fine Art.  She recently published a DVD on Deconstructed Screen Printing.

Please visit www.kerrgrabowski.com

Martha Cole

I often define myself as a landscape-based artist whose roots are deeply buried in Saskatchewan soil. I have returned to this theme many times, always exploring and deepening my connection to the land I call home. Sometimes I have focused on the vast expansiveness of the prairie panorama, the patterning of the agricultural fields; other times on the complexity and subtlety of the grasses and flora. Whatever the focus, this land has continued to challenge and inspire me.

"Diversification", a term usually applied economically or environmentally and often cited as the determiner of healthy sustainability, can also be applied to the cultural sector. In my travels around the province and across Canada, I have witnessed and interacted with many distinct vibrant arts communities. Witnessing this cultural vibrancy wherever I went has led to a clearer distinction between 'culture making' and 'art making' in my own art practice and has affirmed my belief that I must ground my work where I live.
I have gained a deeper understanding of "power of place".

As an "art maker", I believe that art and visual images carry in them the power to generate change if they are created with honouring and respectful intention. Therefore, I try to create images that are beautiful, reflective of my values, and accessible both visually and intellectually. I hope to show aspects of the prairies that are both new and familiar to my viewers. I want them to experience the broad, expansive "power of place" that is so characteristic of the prairies as well as the small, fragile and vulnerable within the wide sweep of this landscape.

As a "culture maker", I am committed to effecting change in our society. I have chosen to place my work here - where I live. I want these images to resonate, to affirm and deepen a personal connection in each of us to this land. I believe that if we can learn to love this land we cannot help but work to save it, thereby saving ourselves in the proces

Jennifer Love

• Studied textile arts at Capilano College,
  North Vancouver, 1999 to 2002.
• Founding member of Foxglove Fibre Arts Studio / Gallery
  on Bowen Island - served as its Workshop and Exhibitions
  Co-ordinator until 2005.
• Now living in Garden Bay, Pender Harbour, BC, running a small resort/marina BC
• BC Representative for the Surface Design Association (SDA)
  

Artist's Statement:

My medium is usually fabric – fabric that has been dyed, printed with a myriad of different techniques, and then layered and stitched and cut away and stitched again. Layerings – of colours, of patterns and
textures, of fibres and stitches, of images and cultural references – all combine to create a visual and tactile feast for the senses and the spirit.

Inspiration comes to me from a variety of sources, among them: architectural and decorative design; reflection of colour and light on water; traces left by earlier civilizations; old maps; and the many colours and textures to be found in nature. Printed designs include imagery from my own photographs, textural patterns from slate, stone and marble, and geometric patterns.

My current series of work, Submerged, utilizes the technique called reverse appliqué. These pieces comment on the issue of global warming – beautiful manmade constructions such as the marvelous tile floors of Venice gradually becoming claimed by the forces of nature and the creatures of the deep.

Colour has always been one of my primary inspirations. Painting on paper is another way in which I love to experiment with colour, layering and pattern – the results are so immediate and many of the lessons learned can then be transferred to printing on fabric.

Jennifer Love — PO BOX 68, Pender Harbour, BC, V0N 1S0. cell: 604-817-0909 or email: jenniferannelove@hotmail.com.

Ursula Bentz

Since childhood, Ursula has pursued her love of textile arts and over the years has developed her creative expression through her one-of-a-kind wearable art and decorative pieces. Her growth as a textile artist has been inspired by avant-garde fashion, circus, theatre and historic costume design. She graduated from the Capilano College Textile Arts Program in 2005 and is also a member of the S.C. Spinners & Weavers Guild, the Craft Association of BC and several galleries.

Shannon Wardroper

The wall hangings are an integral part of ordering the experience of living as an outsider, as an observer in different cultures, managing the ever-shifting bed of attitudes, morals, politics as well as social mores such as “kindness” and “obligation” associated with the platitudes of civility.

Materials and motifs holding specific cultural and historical references are a major source of inspiration. Harmonious or even ironic melding of these seemingly disparate images and media gives physical voice to the experiences of cross-cultural living.

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