Unraveling a Tumbleweed at CCA Oakland

On-site at CCA's 'Soil to Studio' plant dye garden (photo by Sasha Duerr)

I was so fortunate to have been invited recently to talk to students in the Textiles program at the California College of the Arts in Oakland. Artist friend and plant dye expert, Sasha Duerr, has helped to cultivate a wonderful campus garden for the study of permacouture and 'soil to studio' practices. 

In addition to my talk on ideas related to 'fashioning self and the environment', I decided to unravel a tumbleweed fiber form that I had created in 2006 while on an artist residency at The LAND/an art site in rural New Mexico. 

'Tumbleweed 01' created out of recycled textiles, fiber, and vegetation in New Mexico 

I viewed this event with the students as an opportunity to shift my creative practice a bit – unwinding quite literally into a more expansive mode while also looking back at a chapter in my life that was very much about preserving materials and the memories of a specific place.

The hand-dyed fibers from the tumbleweed were able to breathe again amidst the lush vegetation and expressive succulents of CCA's community dye garden and surroundings. The students also served as live branches of sorts during the collaborative process. 

Handmade | Trend Tablet

'Fete for the Senses' in the 'Handmade' section of Trend Tablet

So thrilled that Fete for the Senses was recently celebrated and reviewed on Trend Tablet. 

Rhiannon SIlver Gilmore, a visual researcher, maker, and creator of the blog, Intelligent Clashing, wrote a very thoughtful piece on the December event that I created in my home with a hand-picked selection of artists, designers, and slow design advocates.

image: Abigail Doan (left); Balmaseda (right)

In my interview with Rhiannon, I shared the following regarding my vision for the event:

"The idea itself came from Dali’s Les Diners de Gala, a 1971 publication with extravagant fete recipes and surrealistic visuals that explore the pleasures of taste and unbridled artistic passion. Inspired, Doan wanted to apply this spirit to the organic realm, one ‘where fibre and slow craft methodologies might be at play and seem rich’ connecting people with their senses and so providing them with vital information for meaningful decision making and more balanced consumption choices. In this way Fete for the Senses was meant to be more than a party, an exhibit, or a showcase but ultimately a way to sensitize each person to experiences that better inform them about what their true passions might be and in turn what they are hungry for and attracted to. In Doan’s own words, ‘Desire is something that needs to be examined both as a way for creating deeper relations but also for gaging how sustainable strategies are ultimately implemented and shared."

More multi-sensory projects and news to come from my current stay in San Francisco.

Ancient Future Finds in Macedonia

Weighted loom at The Museum on Water

Lake Ohrid, Macedonia

Detail of weighted loom

Village recreation floating on the waters of

Lake Ohrid, Macedonia

I had a magical time visiting the Republic of Macedonia this past weekend. The Sveti (Saint) Naum monastery complex was a stunning site as was Lake Ohrid's, The Museum on Water. My favorite find was the weighted loom pictured above. So boldly sculptural and the perfect fusion of ancient and modern elements. 

(all photos by Abigail Doan)

HAND/EYE: New Mexico and the Genius of Place

Julia Mandeville shares her thoughts on the otherworldly dimensions of 

Walter De Maria's The Lightening Field (images via Dia Art Foundation)

My artist residency at The LAND/an art site in rural New Mexico 

– an examination of 'genius loci' and the role of natural fiber

Gail Rieke's textured collages and assemblages

pay homage to perfectly calibrated environments

Hand/Eye New Mexico Issue 07

It was such a tremendous joy to receive this latest issue of HAND/EYE magazine at the beginning of 2012. I have had such a love affair with New Mexico's landscape since my first pilgrimage in 1995. This current edition of HAND/EYE genuinely demonstrates why both rural and urban New Mexico are interwoven to create 'the land of enchantment'. 

Dr. Pamela Ravasio reports on Colcha embroidery

– one of the few indigenous textiles of New Mexico

From the Acoma potters of 'Sky City' to the vibrant Santa Fe International Folk Market to 'low rider' culture to traditional 'Colcha' embroidery – this colorful and multi-textured view on the hand/eye connections of the desert Southwest will both transport and ground you via a close examination of regional crafting methodologies. It is an inspiring read and one that will make you experience a bit of wanderlust during the depths of winter.

Learn more about the spirit of HAND/EYE here. 

HAND/EYE Magazine: World Textiles Issue 05

Rowland Ricketts takes us into the 'Deep Blue' of indigo dye craft

It is a beautiful thing when hands, hearts, and minds join forces to celebrate textile diversity and global artisans working to preserve the traditions of handwork and sustainable crafting. The summer 2011 edition of HAND/EYE magazine has done just this in its latest issue devoted to World Textiles. 

The seventy-two page volume serves as a feast for the eyes, as well as an inspirational guide to socially and environmentally-responsible textile projects and designer initiatives that span countries such as Cambodia, Chile, Colombia, Ethiopia, India, Italy, Japan, Mexico, Peru, South Africa, and The Netherlands, to name a few.

'Handloom Heritage' of Rehwa Society by Julie Hall

HAND/EYE is devoted to creating bridges between art, design, textiles, and philanthropic outreach through thoughtfully written articles and interviews by invited contributors and guest editors. This latest edition has assembled an impressive line up of individuals who are united by their passion for curation, sustainable textile production, craft-based knowledge, and artisanal methods. India Flint, Christina Kim of Dosa, Birgitta de Vos, Marcella Echavarria, Rowland Ricketts, Kathrin von Rechenberg, Rebecca Schiller, and Keith Recker, are just a few of the contributors and interviewees who have made this issue so complex and rich.

Luxurious hand-woven 'Monsoon stole' by Soie de Lune

WUBET handwoven scarves by designer Arnold Haas

Ethereal and earth-friendly designs by Cristina Kim of DOSA Collection

My contribution to this colorful and exquisitely designed issue is an article on Raw Mango and designer, Sanjay Garg. "Sanjay Garg's creative brand, Raw Mango, goes to the source of Indian textile production to create a collection steeped in artisan tradition and hand-woven luxury ... and at the same time rich with temptation for younger customers."

As HAND/EYE's Editor-in-Chief, Keith Recker, states in his introduction to the publication, "It is vital that we keep the conversation rolling with stories of creative people from every continent whose textile work contains the seeds for a vibrant future." This is essential for the preservation of ancient crafting techniques and materials, as well as building a bridge to a more sustainable future.

You can subscribe to HAND/EYE magazine here.

Congratulations to everyone involved in the creation of this gorgeous publication. Blog updates and news announcement can also be found on HAND/EYE's Facebook page.

Good Work May Day Event: Fiber Bracelets for Iran

Recycled fiber, threads, and yarn strands with environmental art 

by Atefeh Khas and the Iranian New Art Collective as inspiration

I was thrilled to participate in Good Work's May Day celebration at the Textile Arts Center this past Sunday. My afternoon workshop was an occasion to craft fiber 'peace' bracelets to be exchanged with Atefeh Khas and Tara Goodarzy, Iranian environmental fiber artists who I have collaborated with in the past. The goal was to create a kit of braided bracelets that I will send to Iran in exchange for the contribution that these artists made to my exhibit, (Re)Fashioning Fiber, in NYC last May.

Braiding of fiber bracelets with imagery from Iranian artist friends

Participants sharing stories and a love of fiber at the 'Good Work' workshop

Natural dyes provided by jewelry designer, Erin Considine

Prepping the dye vats before immersing the bracelets

Plant dyed fiber bracelets drying in my studio

(These were left over bracelets made by the Iranian artists, 

dyed with natural plant dyes in Brooklyn this past Sunday)

'Good Work' worktable at the end of the afternoon.
These braided designs will be added to the dyed kit
of bracelets that I will send to Iran

Photos of the final mailing kit to be sent to Iran will be posted soon. I will also be returning Atefeh and Tara's 'fiber nets' after photographing them in Central Park. I want to extend a special thank you to Dr. Ahmad Nadalian, teacher and mentor to a whole generation of environmental artists in Iran. His work at the Paradise Art Center in Polour is where many of these artists have found a safe sanctuary to work and explore their ideas. He has been a great art friend and collaborator for the past several years. Congratulations also to Tali Weinberg, curator of 'Good Work', for an exceptional textile show and community building experience.

*all photos by Abigail Doan