Studio Insights
Why my series of chicken sculptures ends with an unconstrained fox
I once heard artmaking described as a game of chess between the artist and the artwork. The artist makes a move; the artwork makes a move. The first mark on paper, first stitch taken, first shape carved, sets all the rest in motion. With each successive move, the options narrow. Making the last sculpture in my series Making the Voters Chicken has felt like a game of chess.
Remaking an Unsuccessful Fiberart Sculpture
When a sculpture is unsuccessful, I have a few choices. I can live with it, hoping it will grow on me. I can discard it, when I would be embarrassed to show it. Or, I can remake it into a new piece. I faced this choice with Making the Voters Chicken.
How an installation grew out of a single bird sculpture
Gerrymandering the Marsh started as a nature-based fiberart sculpture of a bird crouching on a log on the edge of a wetland. The single bird turned into a tableau explaining how legislative actors draw electoral districts to distort political power.
Art Knitting Moves Domestic Handcraft into the Public Sphere
Until 1997, I though knitting was just for clothing. Like most people, I considered knitting a domestic handcraft. My perception changed when I stumbled on the art of Katharine Cobey. She was knitting large scale sculptures and installations addressing serious issues: homelessness, aging, the Gulf Wars. When I realized I could use knitting to make art, I felt liberated.
Felted Wool Textures in Artwork
When I design and plan my artwork, I think about the textures of the surfaces. Different textures create different visual effects.