I have so many friends doing amazing studio projects and events these days, I can barely keep up. Given that I am in the midst of transitioning my family and studio back to NYC for the year, I thought that I would share some inspiring news from several artist and designer friends who are located in both the U.S. and Europe. Even if you cannot visit these exhibitions or locations in person, I am hoping that you will be energized by just how passionate they all are about their creative materials and methods.
Sasha Duerr's recent Oakland studio interview for In The Make | photos by Klea McKenna
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 withstudio 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 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.
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.
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?