carlyn yandle
  • about
  • the creative process
  • crafted objects
  • public art
  • painting
  • exhibitions
  • contact

Faith is key when you're cutting up family heirlooms

6/7/2024

 
Is it easy to cut up hand-embroidered linen tablecloths, runners, pillowcases?

It is not. As an adequate hand-stitcher I understand the skill, labour, time and patience that goes into each linen. I understand the desire to cherish these vintage domestic-craft objects made for the joy of it that are eventually passed around and down the generations only to be hidden in some drawer or closet. I understand the impulse to rescue them from the humiliation of their thrift-store price tags of maybe five dollars.

Cutting through all these layers of meaning feels a little like slicing into someone else’s skin. What right do I have?
PictureAm I ruining family heirlooms? Or daylighting unused linens that have been in the dark for decades? (Carlyn Yandle photo)
As word got out that I was amassing old embroidered linens for an artwork I gratefully received donations from friends and family. It’s a lot easier to be the rescuer of those tragic cases dotted with stains or holes. At least I can console myself that I’m ending the quandary over whether to keep this piece of Grandma or let it go.

But the weighty, pristine Irish linen tablecloths that bloom with finely stitched bouquets and drawn threadwork borders are quite another thing. I take a deep breath and make mental apologies and thanks to the unknown or long-gone maker. I remind myself that I’m not ruining a family heirloom but daylighting the work of handmade things that have been in the dark for decades. Then I let the rotary-cutter rip. I am Edward Scissorhands. I can’t help myself. Sorry, not sorry.

This is the struggle behind Forage, an under-construction field of improvisational log-cabin blocks in my preferred scale of queen-sized. Each embroidered scrap is a literal snippet of a larger piece, the analogue equivalent of a digital thumbnail image. Machine-stitched together the blocks are as cacophonous as an Instagram Explore field.

Picture
That effect grows exponentially as the blocks are stitched into rows, then rows onto rows. I’m now part-way through constructing the thing as a single field (“top”, in quilt language). Viewed horizontally it is a chaotic community garden of 42 unwieldy plots that spill out into the paths (“sashing”). I find new patterns for connection while merging the embroidered elements of one block into another block through the sashing, in a sort-of snail’s trail of stitches. As I mimic these markings of those makers, I feel a connecting thread. I am walking in their stitch-steps.

Despite the garden-plot references, this work is defying the horizontal, offering a reverse-side textural experience of an unstable grid of frayed edges. The maker-contributors never intended for the ‘wrong side’ to be seen, but when it’s all brought into the light, the translucent stained-glass effect cannot be denied. Suddenly I see connotations of religious symbolism, and I’m wondering about the power of the loose threads and those cryptic-looking stitches when viewed from behind the scenes. Something about sacrifice or at least about having faith that the discomfort in detaching from nostalgia is for good, not evil.

That openness is rich ground, another area to forage.
Picture
Connecting embroidered elements feels like walking in the stitch-steps of past makers. (Carlyn Yandle photos)
Picture
A backlit view of this work-in-progress adds further layers of pattern, texture and symbolism. (Carlyn Yandle photos)

VIDEO tour: 'Joyful Making in Perilous Times'

4/21/2021

 
Picture
Click HERE for a 10-minute journey through the methods and motivations behind this MFA thesis. (Film made by Ana Valine, Rodeo Queen Pictures, August 2020)

Art student's off-grid heater would make quite the gift

12/19/2014

Comments

 
Dear Santa,

I know I haven't written since I was a kid, and when it comes to wants, I'm pretty much good. Unlike a lot of my neighbours who rent homes that are slated for demolition in the coming year or who have to hit the food bank at the end of every month when the money runs out, I'm safe and secure — for now.

You see, I'm a bit of a prepper. I worry about the security of all our food and the hikes in cost of living in the era of climate change so I've been doing workarounds for a lot of that. I have a kitchen garden and my main way of getting around is by bike. My work- and social life surrounds making, mostly with materials that have already served their primary purpose. If the power grid or the banks fail, I can at least charge up my bike lights and headlamps with my Biolite camp stove, using bits of cardboard and twigs so I can get out there and be of some use. My one weak spot, though, is heat. Condos with wood-burning fireplaces being a rarity in these parts, I would have no choice but to go outdoors and hang by the bonfires in the streets. 
Picture
But now I see there is the Egloo, a table-top terracotta dome-thing that can throw off 70C degrees of radiant heat using just a few votive candles. Pant! Pant!

It's the brainchild of Marco Zagaria, a student at the Academy of Fine Arts in Rome. Trouble is, it's not quite available yet. Zagaria has been hand-making the prototypes on a potter's wheel (promo video below) and is currently crowd-sourcing funding — already surpassing his goal by 15 per cent at the time of this writing — to have them mass-produced. So here's where you come in, Santa. I don't know if I can wait, what with us all teetering on this edge of the Ring of Fire and seismologists referring to the imminent major earthquake as The Big One. I figure if you can squeeze your girth into a gas fireplace exhaust vent you can put an Egloo under my tree pronto. 

However, as is my nature, I am prepped for the disaster of that not happening as well, so I've sourced some of Zagaria's own research and have latched onto a snippet of his virtual collaboration that he tagged as one of his YouTube 'favorites', a simple arrangement of one clay plot bolted inside another, resting on some thin cinderblocks. (See YouTube clip, at bottom.) It ain't pretty, but it will do the job in a pinch and uses stuff in my immediate vicinity.

Just goes to show, it takes a creative like that Italian art student to arrive at that balance between form and function that marks brilliant industrial design, which begets attraction which begets demand which begets profit motive which begets financial backing which begets wide-scale production which begets marketing to preppers like me. 

What am I saying? — you're Santa. Surely you know all about the value of artists in economics and sustainability innovations. 

Wishfully,
Carlyn


Comments

Inspiration from those who make it, through Crassmas

12/12/2014

Comments

 
It's not too late to say, Nay! I will not be coerced into this coming two-week commercial frenzy. I will steer my little ship into calmer waters! 

Instead of joining the throngs of harried consumers grabbing up plastic chocolate-pooping reindeer and ironic acrylic Christmas sweaters it's possible to turn all this Excessmas into Makemas — not to make gifts necessarily but just to make for the sake of it.
PictureEriksson's home-baked sculpture earns her a TV interview on God Morgen Norge.
Seasonal materials — gingerbread, sugar, snow and ice, fir boughs, candy, lights — get makers going. What starts with a simple plan to make, say, a gingerbread house, can develop into astonishing works.

Norwegian maker Caroline Eriksson took it to new heights last year when she devoted a week and a half of full-time making to compose this Optimus Prime (which really should have been called Insulin Prime). There are 700-800 pieces in this Pepperkokemann — which sounds really funny when you say it out loud. (via gizmodo) It's nerdy but there's something in all that cookie dough that evokes a delicious back story about a sweet gingerbread house that breaks out to lead the Autobot rebellion.

Picture
Jacking up this surrealist season is Toronto fashion shock-rockers Dean and Dan Caten(acci) of DSquared2, who created these spike-heel ice skates a couple of seasons back.

I remain captivated by this very-Canadian wearable sculpture that the makers had the nerve to put into a product line, further blurring the line between surrealism and consumption. The power it has to create so much scorn says something about a culture immersed in acquisition over contemplation of an object. Adding to the cultural weight of this object is in the potential for performance art by the user.

Picture
Austen, Texas artist Emily Blincoe packs a weighty punch into the empty calories of her Color Coded: Sugar Series.

A surprising recategorization of common objects or materials invites a re-think about those objects. A glut of candy organized by colour draws the viewer's attention into issues like marketing, excess, presentation. consumption and value. This fetishistic display of tooth-rotting, diabetic-seizure-inducing "food" endures as long as the no-expiration dates.

But when it's all too much (as Glaswegian Granny used to declare, on surveying the freshly unwrapped loot), we makers head for the woods. Or the beach — anywhere you won't hear the Chipmunks or Michael Buble or Mariah Carey droning seasonal mall music.

PictureA snowball installation speaks the language of textile art. (from cecageorgieva.blogspot.ca)
Making is also meditative.

Textile artist Ceca Georgieva, of Sophia, Bulgaria, works in the natural world, creating time-intensive land art pieces. This snowball installation exudes quietude and fragility, created through a repetitive process that evokes the kind of attention and meditation involved in textile art.


The impermanence of the piece, the precarious balance makes it an intriguing moment in time. Soon it will all blow over and we can start anew.


Comments

Packing it all in for the Toronto design fest

12/5/2014

Comments

 
It's getting close to a decade since I packed it all in: my needles and wool, my sewing machine and fabrics, my mid-level-management career. There was more to explore.

I've been mixing it up with a wide range of materials (and makers) ever since but even I'm surprised to find that my latest tools of choice for bushwacking new routes of making are the ol' crochet hooks, knitting needles, rug hooks and embroidery needles.

The line on the paper has always been too limiting to me; I need to pick up that line, play with it in my hands, turn it into area, then volume. I remain entranced by the possibilities of connecting something created by a silkworm or an industrial manufacturing plant to a mathematical model or a wearable with uncomfortable connotations.

The beauty of fiber is in its physical and metaphorical ability to connect the Art side to the Design side (not to mention the science side), weaving the two together until it's clear that playing with ideas cannot be put into separate boxes.
Picture'Spore' (2011) serves as promo visual for the Vancouver design group.
Except if we're talking shipping boxes, for the Toronto Design Offsite (TO DO) Festival next month.

A few object-experiments from my ongoing Fuzzy Logic series will be packed in there, as part of the Vancouver group of makers, selected by the Dear Human creative studio.

It's all part of the ‘Outside the Box’ exhibits featuring works from three selected Canadian cities — Montreal, Calgary and Vancouver — and five from the U.S.: New York, Detroit, Chicago, Los Angeles and Seattle.

It's a fine way to mine local design ideas and visions through an unexpected selection of objects that are shared in various locations via specific-sized shipping boxes.

The Vancouver contribution includes nine individuals and teams who live, design and make in the greater Vancouver area. The connecting thread is a pursuit of a design practice through material exploration, according to Dear Human. "Whether through common applications of unusual materials or transcending common materials through unusual applications, exploration is evident in each of the included objects." 

Rounding out the Vancouver Outside the Box contingent are: Cathy Terepocki, Dahlhaus, Dina Gonzalez Mascaro, Hinterland Designs, Laura McKibbon, Rachael Ashe, and Studio Bup.

PicturePlaying with fiber optics (Photo by Carlyn Yandle)
Vancouver Outside the Box will take over the windows at 1082 Queen Street West, Toronto, from January 19-25, 2015.

TO DO is an annual city-wide not-for-profit week-long festival that celebrates and showcases the nation's design scene, providing exposure and cross-pollination of ideas and techniques. There are too many exhibits, installations, talks, parties and films to list here, so check out the full (and growing) schedule here as well as the fun promo video.

PictureDetail of Fiber Optics (Photo by Carlyn Yandle)




Comments

craftsmanship at the core of paper art show

4/4/2014

Comments

 
PictureClockwise from top: Connie Sabo, Rachael Ashe and Sarah Gee Miller with their respective works. (Carlyn Yandle photos)


Sarah Gee Miller says she's pretty handy. That's the understatement of the evening. Her paper 'paintings' are not only visually stunning and conceptually rich but they resonate with the dedication of a serious craftsman.

Funny how the word 'crafts' only gets the serious respect it deserves when the 'man' is attached to it. Suddenly the mind moves from, say, knitting or embroidering to, say, boat-building or blacksmithing. Here at the Voices from Another Room show at the Hot Art Wet City gallery, the craftsmanship is here in the medium of paper.

It's that juxtaposition between the humble, ephemeral material and the heavy-duty skill and commitment of craftsmanship that makes this show of five artists' work so compelling. The results of that individual devotional patience, determination, repetition is on view. And I can attest that there's also frustration, physical exertion, second-guessing and the flops. You don't get to this calibre of work without enduring a few hard battles.

The conceptual elements of the pieces in this group show may reference particular art genres (or not) but the methods are perhaps unconsciously rooted in this region that is built on a New World culture of self-sufficiency, innovation and handwork, in a medium fitting for this corner of the world that was built in large part on the pulp and paper industry. Location, whether in art or real estate, is everything.

The beauty of the group show that has that one connecting thread — or in this case, wood fibre — is in how far that thread can be stretched, from Miller's totemic paintings to Sabo's heavy net-like installations of twisted newspaper, to Ashe's filigree screens, to Alison Woodward's three-dimensional twisted fairytale vignettes and Joseph Wu's origami sculptures. But beyond the medium there's the other connecting thread of craftsmanship, which Wu articulates as both a scientific and artistic exploration.

This is a show of skill that is developed through the often meditative repetitive act of carving or twisting or folding, but the art is in the repetition of those expanding skills. It is how Sabo's net works have led her to ideas about laminating newspaper blocks, or how Miller's paper paintings grew out of her own drawing machine.

"The open relation between problem solving and problem finding... builds and expands skills," according to author Richard Sennett in The Craftsman. "But this can't be a one-off event. Skill opens up in this way only because the rhythm of solving and opening up occurs again and again."

Voices from Another Room: 5 Artists Explore Paper continues to April 25, Wed-Sat noon to 5 p.m. at 2206 Main (at 6th Ave.), Vancouver.






Comments

QR button blanket: Epic fail or a larger reading?

3/21/2014

Comments

 
Picture
After three months of sewing one donated button after another into a giant QR code, the big moment arrived this week: time to stand back and scan that baby with a reader app, translating this quilt-thing to read, "The devil is in the details."

Except it didn't read. Don't panic!, I thought, then spent the entire next day working with a photo image of the QR Button Blanket, Photoshopping in more buttons and darker buttons and bigger buttons, trying to add the minimum amount of density for the software program to register the pattern and work its magic to produce the punchline. No luck; even a sliver of white in one button cluster puts a wrench in the wholecloth works. I filed this one under the category of Epic Fail, not worth finishing it as intended, framing it in black bias binding. I do not want to create something that is 'still' good; I want the thing to be good, full stop.

Picture
Failure demands confronting the why. Why conceive such a laborious, risky project in the first place?  Why endure the painstaking process when half-way through it was becoming abundantly clear that this was not going to 'read'?

But there is another power here, and that's tied to the process beyond the product. The achievement may lie in the endurance (in an increasingly A.D.D. world) that is not necessarily attached to the product after all. It may be in seeing it through, without the promise of a sure result. The power may lie in the humble, everyday materials and the community of women who contributed all those bits of plastic saved from the waste stream. (There should really be a global ban on production of billions of plastic buttons. Plant-based plastic, bone, wood, and leather- or fabric-wrapped tin buttons eventually return to the earth.)

But what's really starting to click in for me is the cultural reference of this button-grid design. A decade ago, it might have been viewed as an oddly arranged colour field or an abstracted grid but we're so acclimatized to codes that the pattern begs to be 'read.' The fact that this is irresolvable might be annoying. And that's interesting. 

PictureWavy Gravy, marker on synthetic velvet, 58" x 43"
The possible multiple references could be more engaging than the one answer provided by a QR reader app. There's something to be learned in the discomfort of the open-endedness.

Moments like these, I seek out the artists who have embraced what New York artist Polly Apfelbaum calls the 'tough beauty' of visually exciting works that incorporate everyday materials in surprising ways. Apfelbaum, who calls herself a bad crafter, articulates the process of hard work in this video. 

"I work all the time," she says, without a schedule and in a highly experimental way. "You make the work and then you hope for the best." 

 "It's very important to get your fuck-you back."

I'm going with that.

Comments

true craftsman makes a crazy idea real

12/13/2013

Comments

 
Picture
While the rest of us are scrambling to post our recent activity, build our brand, be a part of the online conversation, Noah is solving problems through metal. His underwhelming website is testimony to what he does instead all day long instead of sitting at a computer, often seven days a week, for money and for love.
 
I found him through a trusted recommendation and knocked on his hand-crafted metal-ball door-knocker back in May, with my metal problem: I wanted to make a quilt out of reclaimed copper piping and other old gizmos.  I had my pitch all ready to go, something along the lines of, "I know this sounds crazy but hear me out..." but I could see he was already loving the idea.

"I really want to do it," he said, and I could see I had found the right craftsman for the job. 

For the next four months, Noah turned my full-size paper pattern pieces into two mirror-image, six-foot-square quilts of 10 lapping 'log cabin' blocks, which was installed in the front entrance of the City of North Vancouver's new Operations Centre last night, at the time of this posting.

Sometimes ignorance is bliss. I didn't even know what brazing was when assemblage artist (and Noah's neighbour)  Valerie Arntzen brought me around to his place. I didn't know that you can't just solder different metals together. I simply handed over the goodies I found at my favourite scrap yards (thank you for putting those gems aside, Richard of North Star Recycling and Dung of Allied Salvage). Apart from some initial head-scratching and smiling, Noah did not harp on the fact these were time-consuming challenges. Had I known the trouble he would take dissembling old spigots and repairing bronze pressure gauges I might have clawed back on the scrappy treasures.

It also had not dawned on me that paper patterns might not be suitable in a workplace that is all fire and molten metal, a problem he solved by laying a thick piece of tempered glass between the patterns and the hot solder and copper. Problem-solving is the mark of fine craftsmanship.

Noah claimed to like the quilter's block-by-block approach to creating complex pattern and texture. I appreciated the fact that he also saw visual value of keeping the soldering drips and the entire range of patinas of copper, from black to turquoise to new-penny pink, instead of polishing it all to a high sheen. That ability to let go of the need to create a perfect joint or a uniform result speaks to the artist in this craftsman.

Picture
The nuts and bolts: Hand-drawn renderings were translated into an Illustrator file and printed out as full-size colour-coded block patterns to indicate three levels as well as placements for found features. Noah adjusted for the bulky tees and elbows as he transformed the patterns into a three-dimensional matrix, and situated specific gizmos to enhance the subtle mirror-image effect.

There are many leaps of faith in the making of something never before attempted. No amount of sketching, Photoshop'd artist renderings or 3-D modelling can create the same sense of the actual thing in its intended space. So as City of North Vancouver workers passed by during the installation last night, joking about how it looked like their last job, or asking if we've checked for leaks, or pointing out some gizmo-relic they remember (including some donated from the City's own works yard), we were having our own first look at our collaborated effort. The glints of hand-rubbed corners and the deep shadows on the wall were all pulling together in this soaring, 12-foot-high structure.

And... breathe out. Waterwork is working. Thank you, Noah.

Picture
 

Comments
    Cross-posted at
    carlynyandle.substack.com

    browse by topic:

    All
    Abject
    Abstract
    Abstract Embroidery
    Abstraction
    Abstract Painting
    Acrylic
    Activism
    Additive
    Aesthetics
    Agency
    AgentC Gallery
    Aging
    Alison Woodward
    Aluminum
    Anxiety
    Appropriation
    Arcade Fire
    Architecture
    Arleigh Wood
    Art
    Art Activism
    Art Blog
    Art Business
    Art Discourse
    Art History
    Artifact
    Artist
    Artist Residency
    Artist Statement
    Artist Talk
    Art Marketing
    Art Quilt
    Arts And Crafts
    Art School
    Art Show
    Art Spiegelman
    Assemblage
    Author
    Banksy
    Bauhaus
    Beauty
    Betsy Greer
    Big Data
    Billy Patko
    Binding
    Blogs
    Blog Tour
    Bob Krieger
    Body Of Work
    Books
    Boro
    Braided Rug
    Braiding
    Bruce MacKinnon
    Bruce Mau
    Building
    Bull Kelp
    Burlap
    Business
    Buttons
    Carlyn Yandle
    Caroline Eriksson
    Cartoon
    Ceca Georgieva
    Challenge
    Charley Yandle
    Children
    Christmas
    Cindy Sherman
    Circular Thinking
    Cirque Du Soleil
    City As Site
    City Planning
    Cityspace Gallery
    Clay Yandle
    Climate Change
    Cluster
    Cob
    Cob Oven
    Collaboration
    Collage
    Colonialism
    Color
    Colour
    Commission
    Community
    Community Building
    Composition
    Conceptual Art
    Conceptual Craft
    Connection
    Connie Sabo
    Construction
    Coronavirus
    Cosplay
    Costume
    Counter Culture
    Counter-culture
    Cover
    Cover-19
    Covid
    Craft
    Craft Blogs
    Craft Camp
    Craftivism
    Crafts
    Craftsmanship
    Creative Process
    Critique
    Crochet
    Cross-stitch
    Cultural Hub
    Cultural Studies
    Culture
    Culture Jamming
    Culturejammingc9d75664fd
    Current Conditions
    Cycling
    Dafen Village
    Dallas-duobaitis
    Dance
    Data-graphic
    Data-graphic
    David Weir
    Dear Human
    Decorations
    Deep Craft
    Denim
    Denyse Thomasos
    Design
    Digital Art
    Discomforter
    Display
    Dissent
    Distraction
    Distracts
    DIY
    Doilies
    Doily
    Domestic
    Domestic Interventions
    Douglas-coupland
    Draw Down
    Drawing
    Dressed
    DSquared2
    Dude-chilling-park
    Dyeing
    Dystopia
    Eastend
    Eastside Culture Crawl
    ECUAD
    ECUAD MFA
    Editorial
    Edward Burtynsky
    Eggbeater Creative
    Embellishment
    Embroidery
    Emily Blincoe
    Emily Carr Cozy
    Emily Carr University
    Entanglements
    Environment
    Environmental Art
    Exhibit
    Exhibition
    Expanded Painting
    Experimentation
    Exploration
    Expression
    Fabric
    Fabricating
    Fabrication
    Facebook
    Failure
    Fashion
    Fashion Revolution
    Fast Fashion
    Feminisim
    Feminist
    Feminist Art
    Festival
    Fiber
    Fiber Artist
    Fiber Arts
    Fibre
    Fibre Arts
    Film
    First Saturday Open Studios
    Flo
    Flow
    Forage
    Foraging
    Form
    Form And Function
    Foundlings
    Found Materials
    Found Objects
    Fractal
    Free Store
    Fuckwit
    Fuzzy Logic
    Gallery
    Gallery-row
    Garden
    Gardening
    Garment
    Gathering
    Gentrification
    Geometric Art
    Gill Benzion
    Gingerbread
    Globalization
    Glue
    Goblin Core
    Grad 2020
    Graffiti
    Grannycore
    Granny Square
    Granville-island
    Green Space
    Grid
    Grief
    Guanajuato
    Guerrilla Art
    Guerrilla Girls
    Halloween
    Handmade
    Handmaking
    Hand Stitching
    Hand-stitching
    Handwork
    Hashtags
    Haywood Bandstand
    Healing
    Health
    Hearth
    Heirloom
    Hideki-kuwajima
    Homelessness
    Homemade
    Hot Art Wet City
    Housing
    Hybrid Thinking
    Ian Reid
    Ian Wallace
    Ideas
    Identity
    Images
    Imagination
    Immersive Art
    Improvisation
    Incomplete Manifesto For Growth
    Industrial Design
    Industry
    Innovation
    Inspiration
    Instagram
    Installation
    Installation Art
    Intervention
    Intrusive Thoughts
    Invention
    Irena Werning
    Ironing
    Janet Wang
    Jeans
    Jeff Wilson
    Joel Bakan
    Joseph Beuys
    Joseph-wu
    Journalism
    Joyful Making In Perilous Times
    Joyfulmakinginperiloustimes
    Judith Scott
    Kamala Harris
    Kids Art
    Kim Piper Werker
    Kimsooja
    Kintsugi
    Knitting
    Knots
    Knotting
    Kyoto
    Labor
    Labour
    LA Fires
    Landon Mackenzie
    Landscape
    Leanne Prain
    Lecture
    Lighthouse
    Linen
    Liz Magor
    Log Cabin
    Logo Sweater
    LOoW
    Lost Painting
    Lumiere Festival
    Lynda Barry
    Macrame
    Maker
    Making
    MakingIsConnecting
    Malcolm Gladwell
    Male Gaze
    Mapping
    Maquette
    Marie Kondo
    Marketing
    Mark Lewis
    Martha Rosler
    Martha Stewart
    Masks
    Material Exploration
    Mathematics
    Maya
    Media
    Meditation
    Meditative
    Mending
    Mend In Public Day
    Mental Health
    Metalworker
    MFA
    Mister Rogers
    Mixed Media
    Mobile Art Practice
    Monique Motut-Firth
    Monster
    Monte Clark
    Mosaic
    Motivation
    Mt. Pleasant Community Centre
    Mud Girls
    Mural
    Mushroom
    Mycelium
    Narrative
    Natalie Jeremijenko
    Nature
    Needlework
    Neon
    Net
    Network
    Networking
    Neuroplasticity
    New Forms Festival
    Newspapers
    Nick Cave
    Noah Goodis
    North Vancouver
    Obtrusive Thoughts
    Omer Arbel
    Online Talk
    Openings
    Organization
    Origami
    #overthinking
    Paint
    Painting
    Pandemic
    Paper
    Paper Sculpture
    Papier Mache
    Parkade Quilt
    Patchwork
    Patriarchy
    Pattern
    Pecha Kucha
    Pechakucha
    Perception
    Perfectionism
    Performance
    Performance Art
    Personalispolitical
    Photography
    Playing
    Political Art
    Political Satire
    Polly-apfelbaum
    Pompidou
    Poodle
    Port Coquitlam
    Portrait
    Practice
    Process
    Production
    Profession
    Project
    Protest
    Protest Art
    Psychedelic
    Public Art
    Pussy Hat
    Pussy-hat
    Qr Code
    Quilt
    Quilt Block
    Quilting
    Quilt Painting
    Rachael Ashe
    Rachel Lafo
    Ravages
    Raw Materials
    Rebar
    Recycle
    Recycling
    Reflection
    Reflektor
    Reimagine
    Renewal
    Repairing Is Caring
    RepairingIsCaring
    Research
    Residency
    Resistance
    Resurge
    Retreat
    Re-use
    Rhonda Weppler
    Richard-tetrault
    Richmond Art Gallery
    Right Brain
    Rondle-west
    Roses Against Violence
    Rote Activity
    Rug
    Ryan-mcelhinney
    Safe Supply
    Safety
    Sampler
    Sarah-gee-miller
    Sashiko
    Saskatchewan
    Scaffolds
    Scaffolds I
    Scale
    Scraps
    Sculpture
    Seasonal Decor
    Seattle Art Museum
    Seaweed
    Seismic Rug
    Semiotics
    Sewing
    SharingIsCaring
    Sharon Kallis
    Shawn Hunt
    Shigeru Ban
    Sketchup
    Slow Craft
    Smocking
    Social Art
    Socialart
    Social Distancing
    Social Distancing Hat
    Social Engagement
    Social-engagement
    Social History
    Social Justice
    Social Media
    Soft Sculpture
    South-granville
    Space Craft
    Spore
    Stitching
    Storage
    Street Art
    Studio
    Styrophobe
    Subversive Stitch
    Surrealism
    Surrey
    Tactical Frivolity
    Tactility
    Tagging
    Talking Art
    Tapestry
    Tattoo
    Teamlab
    Technology
    Terry Fox Theatre
    Text
    Textile
    Textile Art
    Textiles
    Thrifting
    Thrift Stores
    @tinypricksproject
    Tiny Pricks Project
    TJ Watt
    TO DO
    Tools
    Toronto Design Offsite
    Toybits
    Trash
    Trash Art
    Travel Art
    Trevor Mahovsky
    Trump
    Typography
    Tyvek
    Unbridled
    Unfixtures
    Upcycle
    Upcycling
    Urban Design
    Use Object
    Use Objects
    Utility
    Value Village
    Vancouver
    Vancouver Art Gallery
    Vancouver International Airport
    Video
    Video Tour
    Visual Field
    Visual-field
    Visual Language
    Wabi-sabi
    Wallace Stegner House
    Wall Hanging
    Waterwork
    Wearable Art
    Weaving
    William Morris
    Women's March
    Wood
    Wool
    Work Wraps
    Wrap I
    Wrap II
    Writing
    Xenobia Bailey
    Yarn Bombing
    YVR
    Zaha Hadid
    Zendoodle
    Zero Waste Art
    Zero-waste Art

    Archives

    May 2025
    April 2025
    March 2025
    January 2025
    December 2024
    November 2024
    October 2024
    September 2024
    August 2024
    July 2024
    June 2024
    October 2022
    August 2022
    June 2022
    November 2021
    April 2021
    September 2020
    April 2020
    December 2019
    November 2019
    September 2019
    August 2019
    July 2019
    June 2019
    April 2019
    November 2018
    July 2018
    May 2018
    November 2017
    September 2017
    June 2017
    April 2017
    March 2017
    February 2017
    December 2016
    November 2016
    September 2016
    July 2016
    March 2016
    February 2016
    January 2016
    December 2015
    November 2015
    October 2015
    September 2015
    June 2015
    May 2015
    April 2015
    March 2015
    February 2015
    January 2015
    December 2014
    November 2014
    October 2014
    September 2014
    August 2014
    July 2014
    June 2014
    May 2014
    April 2014
    March 2014
    February 2014
    January 2014
    December 2013
    November 2013
    October 2013
    September 2013
    August 2013
    July 2013
    June 2013
    May 2013
    April 2013
    March 2013
    February 2013
    January 2013
    December 2012
    November 2012
    October 2012
    September 2012
    August 2012
    July 2012
    June 2012
    May 2012
    April 2012
    March 2012
    February 2012
    January 2012
    December 2011
    November 2011
    October 2011
    September 2011
    August 2011
    June 2011
    May 2011
    April 2011
    March 2011

Powered by Create your own unique website with customizable templates.
Picture