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Medium: Fiber: hand-dyed silk and wool, silk thread
Dimensions: 29 x 22 x 1 inches
The quarantine lasted so long that we began to lose our language. We communicated with primitive drawings like those found in cave paintings and used hatch marks and strange combinations of lines in an attempt to restore it. The natural world went on in its own fashion, now less affected by the humans.
Nicolette M. Pach
Climate Change Before & Climate Change After Diptych
Medium: Fiber: cotton fabric, acrylic paint, ice dye, stitched
Dimensions: 53 x 21 inches each
A view of the living environment be it a microscopic view of pond water or the winds in the sky reflects my concern for our future. Will it change from the peaceful natural environment of my childhood to a tormented natural environment in my granddaughter’s future? The graphic design came first. Serendipitously two versions, mirror images, were tacked next to each other on my design board. Thus the opportunity arrived for one version to be the inverse of the other. Design decisions were based on that inversion. “Before” was made on blank white muslin spray dyed with pastels. The background of “After” is vibrantly ice-dyed fabric. Each panel was marked on the light table then assembled as a quilt with batting and backing and sewn with the long arm. The paint then was applied to the quilted fabric to bring out the shapes and sections.
On the Brink
Medium: Fiber: eco-printed silk chiffon, rust printed silk, fused to base fabric
Dimensions: 5.75 x 3.75 inches live area in 10 x 8 inch mat
During the pandemic I have been lucky enough to have a studio where I work alone, rarely coming in contact with outsiders. This confinement has curtailed my shopping for new materials leading to re-purposing of unsold eco-printed silk scarves. The original plan was to fuse cut-out leaf prints to a backing as fiber collage, but the trimmings I thought would be discarded turned out to be much more interesting as raw materials. General frustration about the lack of virus containment has lead me to the brink: Why continue to make art?
Barbara G. Karyo
Medium: Clay: whiteware
Dimensions: 8.5 x 9.5 x 3 inches
I started making teapots as a break from my more “serious” work. They are, however, becoming as serious as any other work, due to the “current climate” in the most literal sense. The title of this new series of teapots is “There’s No Time For Teatime” referencing the need for action on climate change.
Sitting in the Shadows
Medium: Metal: aluminum, sewn black wire mesh and shadow
Dimensions: 36 x 25 x 22 inches
My work is a study of personalities and environments, recording moments of humanity unfolding in nature. These works unveil facades and penetrate issues, revealing the true nature of humanity in this current climate. Exodus series: the delicate nature of humanity is portrayed through these ephemeral forms, creating haunting shadows as important as the physical beings. Isolation triggers time for introspection. Instead of depicting people in society, I’m finding humanity through nature, a place to which I have unlimited access. Capturing body language, gesture and expression and their relation to emotion and character, are reflective of the human condition. Technique and materiality are as important as subject and concept. Strong in construction, but these figures appear light and vulnerable so the viewer can penetrate the surface to look deeper. We are all one species, equally vulnerable and must stand together to find place, belonging and comfort in these uncertain times.
The Other Side of Hell
Medium: Clay: sawdust-fired wall relief
Dimensions: 17 x 12 x .25 inches
This wall and relief sculpture are part of a large body of work where I explored a profound connection between my Greek ancestors and myself. Ancestral Connections. Looking at “Attic Pottery” the painted figures on them conversed about their lives. I saw their pain, their joy, sorrow, met and unmet needs I heard them speak about their connections, love and lack of connections, grief, isolation. It was piqued by curiosity that it doesn’t matter when and where one lives, our humanity is always present. As this “Current Climate” has been wrought with disturbing moments and situations, I find these pieces representative of my own fear and instability for our homeland.
Kokoro: The Heart of Things
Medium: Mixed Media Paper Quilt: recycled mono-prints, handmade and commercial papers, beads, thread, ink, paint, markers
Dimensions: 24.5 x 24.5 x 1 inches
“Kokoro” is a Japanese word very loosely translated as feeling, or heart, mind and spirit, or the heart of things. My mixed media paper quilt emerged out of all the pain and sorrow that came to a head in 2020 – the racial injustice, death and disease, environmental destruction, fear for our democracy…Of course, all these issues are still on the table in 2021, but a miniscule hint of hope has crept into the picture. Fingers crossed.
Eileen W. Palmer
Medium: Mixed Media: porcelain, glass, metal, twigs, mortar and gratitude
Dimensions: 32 x 24 x 2 inches
This piece—evocative of lungs—is made from twigs and porcelain flowers; is a reminder that when things get stressful it’s time to pause and “Just Breathe.”
Medium: Mixed Media: fused glass, wood, surgical mask, paint, copper powders
Dimensions: 16 x 5.5 inches
My piece about the year 2020 seems to say it all. My anxiety (in spite of attempts to keep myself grounded) all wreaked havoc on my stability.
The Storm Before the Calm
Medium: Fiber: indigo dyed silk, wool yarn and cotton thread
Dimensions: 22 x 16 inches
The word climate has many connotations. It can allude to the weather, politics, society and more. As with all things in nature there are times of chaos and times of order which was my inspiration for this piece. Calm/Storm, Order/Chaos are cyclical patterns but the tradition is that we start with the Calm. However, in these stormy, chaotic times we are living in, I decided to reverse the common saying in hope that Calm times are on the horizon. Instead of working on one solid piece of fabric I chose to use four panels to create gaps to illustrate that the transition is not always smooth. All fabrics, yarn and threads used in this piece are dyed from indigo plants that I grew.