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Graduates of Kooteny School of the Arts at Selkirk PDF  | Print |  E-mail
 

Kathleen Hill - Journeys        

Denise Richard         

Julie Sinden

 

 button dress
Button Dress by Julie Sinden 


 

Kathleen Hill -  Journeys

I went to Kootenay School of the Arts to paint. But that is not what happened. In the first week there, I was introduced to the ancient fibre technique of felting and my evolutionary course as an artist changed forever.

This really shouldn't have been such a surprise I already had a relationship with fibre through a textile fascination that found outlet in doing traditional sewing projects as a youth. In retrospect I realize that it was not the fashion aspect of sewing clothes that held my attention, but the sculptural aspect; taking flat 'two-dimensional' cloth and shaping it. My enchantment with the juxtaposition of colour and pattern at the local fabric store should have made me a quilter, but somehow it never gelled into that. Truly it was the 'landscape' of fabric; veritable mountain ranges of cloth; that entranced me. It was cloth made dimensional.

Drawing was my true artistic outlet in my youth and the natural world was my preferred subject. The graphite pencil, the ultimate in pared down simplicity in drawing tools, was my medium of choice. It seemed only natural, therefore, that when the season was right to go to art school, painting would be my intended goal

 

 But I hadn't accounted for felt. Felt-making offered a tactility and dimensionality that resonated with me immediately. And it led me straight into the full mixed-media potential of the Fibre Studio

Felting became my main passion and focus in the Fibre Studio at KSA. As my skill with felting developed, the scale in which I worked grew accordingly. This was supported by the fortunate acquisition of two large barrels of ideal felting wool from a retiring spinner. During the summer between first and second year I launched on a systematic exploration of the colour wheel through the dye pot. The shade tree outside my kitchen grew rainbow tufts of drying wool as well as leaves that summer. Hence, in my second year in the Fibre studio, I arrived armed with an exuberant amount of wool, in every colour, ready to be felted.

A rug-making assignment, which involved vast amounts of dyed and carded wool, introduced me to the realm of large scale felt pieces. It was fascinating to me to create a palette in the dye pot and then take these colours and blend them on the carder to achieve the precise gradation of shade desired. It took the summer-of-dyeing and infused it with purpose.

The challenge in working with any sort of distinct pattern or imagery in felting is controlling the wool fibres, as they are laid down, until the felting process has progressed enough to "set" or matte the fibres in their place. The physics of felting actually requires the fibres to creep and inter-tangle, and then shrink together into the strong matted fabric that defines felt. Consequently, delineation between colours or pattern edges in felt is famously soft and fuzzy.

In was in the process of trying to counteract this tendency in a particular element of my rug design that I developed my signature technique for controlling the wool fibres until the felting process begins. Or, perhaps, it would be more accurate to say that I robbed the technique wholesale from another fibre medium and applied it to felting. This is the intrinsic beauty of the alchemy that is art school, and especially the broad scoped Fibre Studio. The simultaneous and overlapping exposure to a variety of diverse, and often related, techniques is fertile ground for discoveries such as this. In my own quiet "eureka" moment, as I problem-solved my rug project toward its swiftly approaching deadline, I stumbled upon a technique that would give me the freedom to be "painterly" with felt.

It looked as though I was going to "paint" at KSA after all.

Thus followed a series of large scale felt wall pieces that explored detailed imagery. A camel image began the series and camels continue to make appearances in these large felts. The camel form is one I have an affinity to. Giant moths and tree giants and other creatures of the wild, have manifested themselves in felt as well. A perennial response to the magic forms of the natural world is often my inspirational starting point.

Another fibre form that emerged in my body of work in the Fibre Studio was wearable art, or, as I like to think of it, cloth sculptures with a human armature. Over the course of my final year at KSA a large cloak - the Moth Cloak - took form. This was formed from hundreds of smaller "moth pieces" created to look intentionally old and worn. This effect was achieved by combining poorly felting wool with felting wool as well as a miscellany of scrap fibres and threads. The result was an ancient, thread-bare, and not to be too literal, an almost moth-eaten effect. I created these, throughout the year, in the little time interstices that appeared amidst other projects and assignments and then combined them, like overlapping shingles into a large winged cloak form. It was a very satisfying way in which to work; that gradual accumulation of all the elements needed to materialize a vision. It was a vision that acknowledged both the raggedness that can result from some of life's passages and the strength and warmth and protection that comes with the wisdom that one gathers while traveling through them.

The Fibre Studio at KSA was a truly marvellous outlet for me to explore a variety of mediums. The exposure to many traditional textile skills, along with a teaching environment that encouraged students to push the definitions of fibre resulted in a profound shift in my creative focus. It jumbled up my perceptions of myself as an artist and I am still happily sorting, discarding and shifting these perceptions to this day

 

There is an echo of collage and sculpture in the Moth Cloak piece that haunts the direction that my work is taking today. Many elements made one; Using found materials gathered from the creating environment; Seasons of gathering and seasons of creating;

Today I take this tapestry of materials and techniques that has woven itself into my art practice and apply it more directly to the world outside the studio. Mixed-media, sculpture, costume, temporary earth installations; all of these infuse my on-going response to the world around me.

I believe that a large felt wall panel will always be in the works in my studio, however, for they are the felt foundation to all my creative journeys.

Kathleen Hill - graduated from KSA in 1998

 

 
 

 Dennise Richards

Denise Richard is a graduate of Kooteny School of Arts and is currently teaching at the New Brunswick College of Craft and Design. 

The work pictured here include Coral an Urchin and Jellyfish They are a stool and 2 ottomans that she built and upholstered with hand woven boiled wool fabric

 

 Anemone (ottoman) 

 Liam's Dragon, felt sculpture
 
 
Urchin  (ottoman) and Jellyfish ( stool)
 Fauve
 
 

Fauve  was inspired by Liam's Dragon, a piece executed while still at school. Fauve was sent to Hungary in an International Felt symposium at the National Gallery of Budapest. It was later published in a magazine which featured a story about the show

The Anemonie and Fille de Mere were part of her first solo exhibition in 2006.and a new and improved Fille de Mere will be exhibited at the Beaverbrook Art Gallery in Fredericton as part of a Faculty show curated Peter Powning  show for the international year of craft.  

Denise Richard is  in the process of creating two different bodies of work for two different solo shows. The first is in October '07 the 2nd will be in November.

 
 

 Julie Sinden

 

 Julie Sinden natural dye test
 
 

Julie Sinden graduated from the fibre program at the Kootenay School of the Arts in 2005, and is now living and working in Toronto.  Finishing school was an exciting prospect, though also a very daunting one.  After three years of hard work and long hours in the incredibly intimate and small community of KSA, to be set free into the world of work, where does one begin?  The medium of textiles presents even further challenges, as you must choose your fibre, choose your process, and choose your market.    Julie began by applying to various shows and competitions with slides of her work from her third year body of work.  She was thrilled when one of her pieces “The Button Dress” was chosen as a finalist for a Niche Magazine Student Award. Julie travelled to Philadelphia during the Buyer’s Market of American Craft for the exhibition and took home the award for her category, which was Excellence in Craft: Wearable Fibre.  The dress then continued to travel, being shown in the “Make a Grand Entrance” fashion show at Convergence in Grand Rapids, Michigan

 

 button dress

 

 

KSA is a school which focuses heavily on production lines, and Julie decided to attempt to translate the idea from The Button Dress into a marketable and accessible product.  The result was “button tease”, a line of embellished t-shirts for kids and adults, which Julie sold at various small retail shows through the summer of 2005.  

In a first year dyeing class at KSA, Julie was introduced to natural dyeing, fell in love with it, and has never looked back.  Drawing much of her inspiration from nature, she finds that dyeing using natural dyestuffs enhances the themes of her work, and in some cases, becomes the theme.  Another focus of her third year body of work was a series of woven pieces, designed to be colour studies through which to further explore the technique.  Using locally harvested as well as tropical dyestuffs, and even some plants that she grew herself, Julie created six handwoven pieces, one for each of the primary and secondary colours.   Since graduating, Julie has continued to explore and cultivate her love for natural dyeing, and currently teaches workshops on the technique at Nathalie-Roze & Co., a boutique in Toronto which sells handmade Canadian work, and is also home to a diy studio which offers courses in all things crafty.

Julie’s most recent venture has been the launch of her own textile production company “jules & annie”, currently producing a line of boiled wool accessories.  Having been introduced to the technique of boiled wool by another student at KSA, Julie began experimenting with the material and process in an effort to create a marketable and accessible product line.  Using 100% merino wool, Julie knits the items on a knitting machine, then pieces and felts them.  The result is a seamless, durable fabric which is incredibly warm.
 
 
a sampling of hats: crimson flower hat, multi-coloured cap and  skull cap
 

 

 
 
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