News
Covid-19 has changed all our lives. I am thankful that I have remained well, but long to return to normal activities like visiting with friends and family, and travelling for art and pleasure.
While self-isolating in Port Hope I have been working in my studio daily. In 2020 I produced Other Echoes, a collection of works on paper examining home and memory.
Early in 2021 I completed the Canadian part of The Tangled Garden a large, long-term garden wall project. Hopefully in the future I will have the opportunity to travel and develop the imagined two remaining walls.
My annual summer canoe trip with the other artists of the Gibson Girls, was cancelled and our exhibition in Vilnius, Lithuania was postponed until 2022. The mail art exchange project we were to exhibit, Where I'm at Now: A Conversation in Art has continued and provided some solace and connection. Go to our newly launched website gibsongirlsart.com to see the growing collection of collaborative postcards created by the group. Follow our activities and the project on instagram @5gibsongirls.
News
Covid-19 has changed all our lives. I am thankful that I have remained well, but long to return to normal activities like visiting with friends and family, and travelling for art and pleasure.
While self-isolating in Port Hope I have been working in my studio daily. In 2020 I produced Other Echoes, a collection of works on paper examining home and memory.
Early in 2021 I completed the Canadian part of The Tangled Garden a large, long-term garden wall project. Hopefully in the future I will have the opportunity to travel and develop the imagined two remaining walls.
My annual summer canoe trip with the other artists of the Gibson Girls, was cancelled and our exhibition in Vilnius, Lithuania was postponed until 2022. The mail art exchange project we were to exhibit, Where I'm at Now: A Conversation in Art has continued and provided some solace and connection. Go to our newly launched website gibsongirlsart.com to see the growing collection of collaborative postcards created by the group. Follow our activities and the project on instagram @5gibsongirls.
News
Covid-19 has changed all our lives. I am thankful that I have remained well, but long to return to normal activities like visiting with friends and family, and travelling for art and pleasure.
While self-isolating in Port Hope I have been working in my studio daily. In 2020 I produced Other Echoes, a collection of works on paper examining home and memory.
Early in 2021 I completed the Canadian part of The Tangled Garden a large, long-term garden wall project. Hopefully in the future I will have the opportunity to travel and develop the imagined two remaining walls.
My annual summer canoe trip with the other artists of the Gibson Girls, was cancelled and our exhibition in Vilnius, Lithuania was postponed until 2022. The mail art exchange project we were to exhibit, Where I'm at Now: A Conversation in Art has continued and provided some solace and connection. Go to our newly launched website gibsongirlsart.com to see the growing collection of collaborative postcards created by the group. Follow our activities and the project on instagram @5gibsongirls.
Heirloom
Heirloom is a collection of ‘household linens’ printed with historically recognized garden plants that are now naturalized as weeds. Like family heirlooms that are too beautiful and precious to discard, but too fragile to use, Heirloom speaks of the responsibility and problem of collection.
Bedding: Spread (Queen Anne’s Lace), Cover (Succory Ticking) and Blanket (Briar Rose Counterpane) as well as referring to domestic language associated with bed linens, are also descriptive of the invasive tendencies of these plants. The pre-photographic nature printing technique was used to transfer information from individual blossoms and leaves to a lithographic stone matrix for printing. Printed units were then ‘patched’ together to create the bed-sized pieces echoing the time, utility and beauty of historic women’s work.
Thicket (Setting)
Thicket (Setting) is a tablecloth that recalls the tangle of a sweet and thorny bramble patch and my immigrant mother’s desire for more. As a child she often enlisted me for long hot afternoons of berry picking among these thorny patches. For my mother, a well set and laden table was both the reward and the salve for all conflict. The strong, dark red linear pattern of the print is contrasted with its skin-like support on Japanese Gampi paper echoing the raised veins on my mother's thin-skinned hands, and mine as I age.
Thicket (Setting) (Tablecloth for Eight), 178x234 cm, drypoint on Gampi, wheat paste, thread, oiled.
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Thicket installation part of O.W.N. (Object, Work, Notation) Curated by Richard Sewell, Open Studio, Toronto 2014.