Description

lost in fiber art projects / collaborations / news / reviews

Top Image

Top Image

Resurfacing Old Finds

Posted on: Wednesday, July 30, 2014

Lost in Fiber work table in Sofia | late July 2014

Part of the beauty of packing one's belongings and slowly transitioning to a new locale are the discoveries that one makes when sorting through collected objects and memories.

I am currently editing the 'best of the best' when it comes to the artifacts, forms, and materials that have been part of the Lost in Fiber process since September 2013. Not everything can travel with me from Sofia to NYC, so I really need to think about what is essential to the current narrative of the project.

So much of what makes sense is context sensitive, but given that this project is also about new material relationships and an effort to make the virtual more tactile, I have matured to the idea that previous definitions of what worked or felt essential needed to adapt or evolve.


A Lost in Fiber bundled module ready for travels  – includes 'scraps'
from Study NY, Cara Marie Piazza, and Doug Johnston's Brooklyn studios

I am really trying to preserve the openness of Lost in Fiber and those striking moments on the worktable when things just sort of click but not necessarily in terms of a resolved or final art form. Rather, the spirit of certain intersections and the resurfacing of old finds is what seems to drift to the top and begs to be remembered or included. This is the sifting that is currently going on, and this is what feels natural in terms of also capturing and sharing the best of a nomadic (studio) existence. 

For some, all of this might seem rather noncommittal or self-involved, but for me, it reflects the creative dialogues that I first observed online between individuals whose work I was drawn to and wished might co-exist in a new way.


The archiving and packing of my own flotsam with a print from slow creations in Sweden

Everything now seems to support everything else. Today's traveling archive has a depth and versatility that also makes the world seem a bit smaller. Social media did not facilitate this cohesiveness, but rather my own day-to-day living with studio remnants or scraps gathered through connections made via social media and community networking. 

Stay tuned for more interviews, event updates, and news regarding the first book in the 'Lost in Fiber' archives series this autumn. See you on new shores soon.

Summer Intersections

Posted on: Tuesday, July 22, 2014

Nordsee (Germany, 2006) | Josef Hoflehner Photography

Lucy Simpson | 'Materials Led' Textiles | photo via Lucy Simpson




Gamma Folk | 2014 Collection Three | photo courtesy of Gamma Folk

Summer is all about the intersection of good (handmade) things and experiences that go beyond the surface. Please enjoy a selection of a few favorite makers and current projects that are inspiring me during the depths of July.

Ethical Travel Accolades

Posted on: Tuesday, July 15, 2014

Rila Monastery | Рилски манастир | July 2014 | photo by Abigail Doan

I just wanted to send a special thank you to editor and writer, Starre Vartan of Eco Chick and Eco Chick Escapes for featuring Lost in Fiber's Instagram feed in her best of Ethical/Global Travel write up. This is such a honor for me as Starre has been such a pioneer in the green design and organic lifestyle movement from the very beginning.

As I prepare my caravan to transition back to the U.S. soon, it is always interesting for me to observe how color, light, and texture reflect new territory and daily activities. This, for me, is the beauty of having a nomadic studio and family existence. Beauty and poignant details are everywhere, if you stop to look in the crevices of surfaces we often traverse so casually.

Lost in Fiber | Interview | Cara Marie Piazza

Posted on: Thursday, July 10, 2014

Cara Marie Piazza natural dye collaboration with Loup Charmant

This is the second installment in an ongoing series of interviews with Lost in Fiber materials contributors. In the case of Brooklyn-based natural dyer and textile designer, Cara Marie Piazza, I was curious to learn more about the range of objects that Cara artfully surrounds herself with, her innovative methods of foraging and exploring color, and the creative ways that she resourcefully navigates her world.

AD: Might you share five objects or artifacts that you currently have in your studio or home – particularly as forms that you feel resonate with your studio work and current investigations?



CM: Dried flowers and seed pods; the book Converging Lines: Eva Hesse and Sol Lewitt; a Pyrite rock formation; wood blocks; and a Tuareg medallion from a recent trip to Marrakech.


Artist | Maker Profile: Betsy Bull

Posted on: Friday, June 27, 2014

'Enclosure' by Betsy Bull

Sometimes the realm of Tumblr can yield amazing finds. It was with great pleasure that I recently discovered the work of fiber artist/designer/student, Betsy Bull, a few weeks ago via her inspirational and intuitive flow of images.
Laser-cut and machine knitted forms by Betsy Bull

Since then we have been in touch via e-mail, and I was really happy to discover Betsy's new website and chat a bit. I love the way that Betsy navigates between the realms of the analog and hand-made. I particularly love the marriage of laser-cut and machine-knitted forms.
'Constricted Shroud' by Betsy Bull
My work aims to invoke a sense of wonder through transformation – B.B.
'Constricted Shroud' (Bird's Eye View) by Betsy Bull
"As an artist, this aim is realized through exploration of material and process. Utilizing modern technology and traditional techniques I challenge material limits, always taking another step, further, further. These explorations culminate in work that navigates between the analog and the automated, hand and machine. " – B.B.

Betsy Bull's waffle weave project on a 'baby loom'

Machine-knitting sample by Betsy Bull

You can view more of Betsy's work here

Her studio process shots and recent travel photos on Instagram are quite wonderful as well. 

Lost in Fiber | Interview | Brece Honeycutt

Posted on: Monday, June 23, 2014

Brece Honeycutt has the midas touch with colonial living, drawing, eco-prints,
natural fibers, slow handwork, and organic studio methods
(studio photographs by Abigail Doan | September 2013)

As Lost in Fiber transitions to the artifact stage (in terms of documenting and synthesizing materials gathered from various contributors' studios), I was curious to understand more about the inspirational objects that various makers surround themselves with and the creative ways they populate and become immersed in their unique studio environments.


Brece Honeycutt's rural studio offers a new twist on modern 'domesticity' and 'farming'

My visit with artist friend Brece Honeycutt last autumn left me wanting to know more about her day-to-day musings as well as her process-centric relationship with materials and tools be they ancient, historic, or contemporary. I follow Brece's impeccably researched and thoughtfully written blog, On A Colonial Farm, but I wanted to also learn more about how she melds the past with the present in a way that reflects the spirit of a modern gathering.


A slow moment of light on fiber, tools, and webs in Brece's studio

AD: Might you share five objects or artifacts that you currently have in your studio or home – particularly as forms that you feel resonate with your studio work and current investigations?


BH: My great-grandmother's peddle sewing machine; old woven wire mesh fish traps; a complete box set of Laura Ingalls Wilder's Little House Books; a mended piece of rusted metal fencing (darned with wire); and a bowl of handwrought nails saved for me by my husband when he re-clad our house.

Abigail Doan All rights reserved © Blog Milk Powered by Blogger