I've used the title "Perseverence Furthers" once before, but it never more true than when I did this tangle:
It started out as a hot mess about 3 or 4 days ago. Instead of giving up on it, I kept leaving it and coming back to it, adding a few things here and there until today when I declared it finished. I wanted to keep it all black and white (color can hide a lot of mistakes) and I'm glad I did. I'm also glad I stuck with it. It's no work of genius but it's way, way better than when I started!
"Try again. Fail again. Try better."
I have two partly-finished textile projects underway. One is the punch needle embroidery piece above (this is a partial photo of the edge of the piece--just a teaser). I'm liking it a lot.
The other is a rug. I'm getting pretty close to finishing the rug, but don't want to show it until it's done. There's quite a story behind it and I look forward to sharing that.
And I just finished punching a 16" square piece that will become a pillow. As soon as I get it into the pillow form, I'll reveal that one as well. Lots of textile work going on around here. Feels good.
These were all quick tangle "studies" done for Inktober 2019. On the upper left is the tangle Baton, done for day 28. Upper right is the tangle Abundies, done for day 22. Center tile is Dreamdex, done for day 19, and lower left is Pixiose, done for day 23. The one on the lower right is the tangle Kaas, which I showed and described in the previous post.
None of them took long and they were quite fun to do. Experimenting maximizes the fun, since the results don't matter.
Charles Darwin (to whom I am NOT comparing myself) said, "I love fools' experiments. I am always making them."
Let's hear it for screwing up, flubbing it, being imperfect.
Much of my drawing is like this, and yet, somehow I like it anyway. I will never be perfect. But I'll be "good enough" for me and will have fun along the way.
Below is a practice tile (a Bijou tile, only 2"x2") for a new-to-me tangle called Kaas. I had a rough time with this one and ended up adding a lot of rounding (rounding is a Zentangle® technique which does what it sounds like--you "round" sharp corners) which can hide a plethora of errors.
Convinced I'd do a better job on my second try, I used a regular (3.5"x3.5") white tile for my entry in the Full Moon Mosaic Project for this month.
Nope, just as imperfect, and even more flubbed-up in some ways. Again, I used lots of rounding.
I had fun, however, and I like it anyway. If you have read this far, you probably can relate to what I'm saying.
"My mistakes are my life."
Here is the little:
Another insanely busy week but blessed with absolutely gorgeous autumn foliage. It has been spectacular around here for days now.
Day 16 of Inktober was Trentwith, a tangle entirely new to me (it looks like art nouveau roses in the tile above) and day 17 was Dreamdex, also entirely new. I didn't have much time so tried them out on a tiny Bijou tile and was quite interested in both tiles; I will try them again, for sure. Next time I'll make both of them bigger.
I'm not going to get Inktober done in October, but I don't really care. As usual, this project is enormous fun.
Fast forward a coupe of days and I've finally gotten to sit down and do a few more tangles, below.
All I can say is, wow did it ever feel good to practice today. It ain't the outcome, it's the experience that is so relaxing and that makes me so joyful.
Oh boy! New gray-toned paper to play with.
I'm beginning to think I do my easiest tangling late at night. Both the previous work and the work below were done very late. It was after midnight when I finished each of them. I'm thinking that being tired slows down the critic in my head, plus at that time of day my goal is really relaxation, and I don't care much about what comes out of the pen. The result is usually better than the more self-conscious efforts when I'm more alert.
I take note that in meditation, focusing on the current moment and not worrying about the "results" is prime. And so is acknowledging that there is an inner critical voice; realizing that the voice is "just thoughts," and that thoughts are not the same as facts. We do not have to believe or pay attention to thoughts that pass through our heads, and that goes for the critical voice as well.
It's difficult to have fun or to achieve concentration when your ego is engaged in what it thinks is a life-and-death struggle.
(W. Timothy Gallwey)
Two years ago I started hearing about this show, which is only run every other year.
Because I was sick, I missed the 2017 show and was determined to get to this one. I made it to Vermont today and am glad I did. This show is held at the Pompanoosuc Mills home base in Vermont, a gigantic workshop building where their signature furniture is made and the location of their flagship showroom.
Why a rug & fiber show there? Because Ed O'Keeffe, the Showroom and Web Manager, is also a rug hooking artist. Ed teamed up with Jennifer Davey, another rug hooking artist and a past president of the Green Mountain Rug Hooking Guild (GMRHG), to mount this show on an "off-year" from the big show that is put on biannually by GMRHG. Because the Pompy showroom is simply immense, there is a lot of wall space. It's the perfect place to hang rugs! And hang they did--check out these wonderful pieces below. Note that I did not get pictures of all the rugs, only about half of the ones on display.
I should add here that all these rugs came from the talented members of the Green Mountain Rug Hooking Guild. I'm thinking that Jennifer and Ed selected them from the Guild's bi-annual show and curated them for this display.
Another of Dana's astounding rugs, Red Riding Hood, was also on display here, but I have already dedicated an entire previous blog post to Dana. Her Red Riding Hood rug is so spectacular that an Australian rug maker did a blog post on it that's in-depth and quite good. Don't miss it! You can find it HERE. And to see more of Dana's work, check my previous post about her HERE.
Despite these many photos, there were at least as many, if not more, rugs and wall hangings on display (and of course, the beautiful furniture everywhere as well). If you are in the area, this show is well worth a visit.
Details on how to get there and the duration of the show are on the postcard at the top of this post. Enjoy!
I did the above tile late last night just before sleep. It's two of the Inktober 2019 days together, days 4 and 5. I have quite a bit of catching up to do.
But of course this isn't a race. After yesterday's spectacular foliage display, I decided that I wanted to shade the tile above in all the colors I had seen in the leaves on my trip. And there were a LOT of colors. I pulled out my General's Pastel Chalk pencils and set to work, with this result below. The blue represents the intense blue sky behind the leaves.
And here they are side by side:
“Autumn...the year's last, loveliest smile."
― John Howard Bryant
“I'm so glad I live in a world where there are Octobers.”
― L. M. Montgomery, Anne of Green Gables
Today we had late-afternoon sun after nearly a week of heavy clouds and some rain. Amazing the difference sun can make. I've been patiently waiting. Our autumn foliage is beginning to glow and when sun shines through the leaves it is just exquisite. I feel totally lucky to live amidst all this.
Trees are truly extraordinary creatures. May we never lose them.
And here below is what may be my oldest hooked piece. I am guessing I hooked this in the late 80s or early 90s. It's disintegrating now--the foundation is disappearing and unfortunately it won't be worth saving. Although I actually began hooking a rug in 1969 or 1970, I was unable to finish that first piece. It was a round rug I was hooking with wool roving as opposed to wool strips. Unfortunately, I lost it in the chaos of moving repeatedly from place to place during that time. I didn't try again for about 20 years. I began again in the late 80s and think that may be when I made the piece below. I hooked it in a 3-cut, my least-favorite style. It's a wonder I kept hooking at all after that.
What's barely visible in this small photo is the disintegration in the lower left and right corners. I'm wondering if it's moth damage (unlikely) or if the original pattern was on burlap (more likely). Burlap was commonly used back in those days but now has been abandoned by most hookers; it's inexpensive and easy to hook through, but it was actually made to rot. Think of the burlap that's routinely wrapped around the roots of young trees waiting to be planted--the intention is that when the tree goes into the ground, the burlap will disintegrate. It's the same when it's used for a rug foundation. Bad idea.
It was nice to see this piece after all this time--I gave it to a friend and she brought it over this week to see if I could repair it. I can't, but it was good to get a photo and take a walk down memory lane.
Next Sunday afternoon is the full moon, in the corner of the universe where I live. It's supposed to be unusually large. And orange. I chose to ignore the orange for this Zendala tile, which I did for Hanny Nura's monthly celebratory Full Moon Mosaic. If you google "Full Moon Mosaic" on Facebook or Instagram you'll see some amazing entries.
Meanwhile, I've been asked to do a Zentangle® demo at a local organization and in thinking about which tangle to ask participants to do, I'm going to use this one, Fassett by Lynne Meade. Which means I need to practice it myself, having only ever done it once or twice--and of course I'm falling in love with it. This was my first try at it, done on a Renaissance Bijou tile (2" square).
Ahhh, the start of October and cooler weather. I hope. It's also the start of the annual drawing event, Inktober. There are many versions of this, and a few of them focus on tangling. I used today's prompt (the tangle Printemps) as the string for this tangle, then put more Printemps inside it, along with Flux and Shattuck. I like the result but I also ran in thru my iPhone app and the color version was very fun.
My form of church, that is.
I left very early today to meet a friend and fellow textile artist on a rural road 45 minutes from my home. Each with rugs in tow. Our goal was to drape the rugs we brought over the stone wall that looks over a meadow and then down, down, down into a huge reservoir (part of which is just barely visible over the tops of the trees and under the surrounding hills) and get a decent photo. I ran the resulting picture thru an iPhone app and got this. I'm pleased. It's a mix of a few of my rugs and a few of her rugs.
This picture describes my spiritual life--the natural world plus a meditative form of craft such as traditional rug hooking.
The light, the earth, the stones, the colors, the sun, the clouds, the wind, the water, the trees, the hills.
I can't think of a better place to be on a Sunday morning in the autumn.
“The sun shines not on us but in us.”
― John Muir
Still in love with and working on learning to draw this tangle, which isn't coming easy for me. Today, though, I think I got it. Finally. There are a million ways to draw a Triquetra Celtic Knot, but I've been wanting to learn it via the easy steps of Zentangle®. Which turned out not to be so easy for me. But in fact, with a bit of practice, it is both easy and obvious. Other people got this one immediately, but I needed to ponder it a while.
Some things are like that.
Being overambitious and then frustrated when I couldn't get the painting to work taught me persistence.
This was my first attempt with this tangle. I actually finished this over 2 weeks ago but am just posting it now. I found the instructions (the stepouts) so hard to follow that I tried it out on a 2" square tile in pencil first, using an eraser. Normally, with Zentangle®, we do not "sketch out" tiles in pencil first, and we don't use erasers. The general idea is that there are no do-overs; if we screw up in life, we don't get to do whatever-it-was over. Instead, we have to figure out what to do about it and we often learn the most through dealing with our mistakes. And so it is in art as well.
However, sometimes if we can't even envision how to approach something, a draft (ie, using pencil to try to sketch something out) is helpful as we try to map the thing in our minds. That was my approach here. And occasionally in life, too, if I'm finding a life task overwhelming.
Speaking of overwhelm, I have hopelessly over-committed myself and am not pleased that I barely have time to turn around in my schedule. At my age, I should know better. This is a mistake I make frequently in life, and I have learned a lot from it...but apparently I still haven't learned how to avoid doing it.
Consequently I have done no tangling since my last post--too busy with textile work which I'm not ready to show yet. And with several other projects, including creating a new website for a group. I love everything I'm doing but I really miss tangling.
As long as the world is turning and spinning, we're gonna be dizzy and we're gonna make mistakes. (Mel Brooks)
Why do we say something is out of whack? What is a whack? (George Carlin)
This image adorned the cover of my old 1979 calendar, one of the many I bought annually from rubber stamp artist Susan Riecken, who seems to have disappeared; I can't find any online presence for her and the last calendar I was able to get from her was in the early 1990s. After that she closed her Cambridge studio and I couldn't find a trace of her. Here is the actual cover of that calendar:
I completely adored her work. Each calendar was a labor of love. She carved the stamps from erasers and in the early years I *think* she hand-stamped each calendar, though I'm not sure. Pretty soon she had the hand-stamped pages reproduced so that she could produce the calendars in bulk, but that never interfered with the delicious colors or the funky marvelous designs. She was/is an art idol of mine. Wishing her well wherever she is, and hoping she's well and happy and making more art, even if I cannot find her.
About my interpretation/copy of her sunflowers: I knew when I ran across this calendar the other day that I wanted to try making a "stamp-like" design by scratching away on an Art Scratch tile. Using a wooden stylus would, I thought give the same chunky effect as a carved stamp. I think I was right.
This is a day traditionally held sacred to all women, honoring the sacred feminine and the Great Goddess in earlier times. For an excellent article with good information on its celebratory aspects (as well as superstitions and misogyny that have accrued around it), click HERE.
Who comprehends her? With whom can one consult concerning this Great Goddess?
--Ludwig van Beethoven
First try at the Trinity (the Celtic-Knot appearing tangle) and Balloya (the one with the multiple lines). I enjoyed doing both, and could certainly get better at both with practice. Why did I choose these two? Because they both began with triangles.
But never mind that. Look what just arrived from my kind and unbelievably talented friend AE. She MADE this. Since I can sew but only very badly, this boggles my mind. She sews like a pro, weaves wonderful things, beads exquisite pieces, does punch needle rugs, dyes her own yarns, and I know I'm forgetting other talents. And all of it beautifully.
I love this! Am I lucky or what?
Woke up early today and used the extra time to do this tangle. I had watched a Romi Marks (Tangled Yogi) video and used most but not all of her tangles for this.
She uses colored pencils, as have I when I've used her paper tiles, made from cardstock so they are very smooth and handle colored pencils beautifully.
I was using a regular Zentangle® tile today, though. That's made from printmaking paper and has a lot of tooth. So I went with General's Chalk Pencils for the color.
Today all I knew when I sat down to draw was that I wanted to work on something blue, invoking the quiet calm of that color. When more than a day passes with no drawing, I get tangle-deprivation syndrome. So, waking early was a pleasure; meditation is easier for me at that time of day, and I've noticed that any drawing I do at dawn or after dusk tends to be less self-conscious than when I draw during the day.
Blue color is everlastingly appointed by the deity to be a source of delight.
Slow but steady progress on the rug. Lots of decisions to make. There is more done but I'd rather save things for the Big Reveal later. I've done a fair amount of trying things out and then "reverse hooking" (aka ripping out) and re-hooking.
It's one giant experiment.
I rarely do things without at least a bit more planning, so this is fun. Compare this version to the one in my last post.
When you're experimenting you have to try so many things before you choose what you want, and you may go days getting nothing but exhaustion.
No drawing happening because I've been doing this.
Yep, back to traditional rug hooking. There is a lot more to this story, but I'll share that another time. I'm really enjoying the process, as always. I even have a space in my house reserved for this rug, assuming I like the way it turns out.
Ferocious thunder & heavy rain today while I was working on this. Anything that clears out humidity is fine with me. I'm concerned about those in the path of the Dorian hurricane however, and horrified about the Bahamas. How will the Bahamas recover?
(I am not in Dorian's path)
An "embedded letters" tile for Project Pack 06. The "No Mistakes" pack.
Meanwhile, I think/hope my creativity is beginning to come back. Finally some textile work, the start of a new rug.
I'm a textile artist (traditional rug hooking, punch needle rug hooking, and other textile arts), long-time meditator and coach, focused on learning about the interplay of art, creativity, and mindfulness every day.
NEXT INTRO TO ZENTANGLE CLASS:
My next Beginning Zentangle® class is not yet scheduled--stay tuned.
I am always happy to teach 1-1 and/or in a small group in your home.)
Come and amaze yourself!
SITES TO WATCH:
Insight Meditation Society
Oxford Rug Hooking School
Zentangle: The Official Site
Green Mountain Rug Hooking
Massachusetts Tarot Society