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

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)

Homemade masks are not all about you

4/3/2020

 
We who turn to rote hand-making activity to quell our anxiety have been knitting, sewing, embroidering, crocheting and needleworking up a storm. My go-to, like countless others stuck at home, is making masks. As the death tolls roll in, I am on auto-pilot.​
Picture
The thing about busying the hands with tiny repetitive motions is that it opens up time to think, to reflect on the incoming: the unfathomable graphs, reports, studies and scandals. What I’ve been reflecting on as I rotary-cut those squares of cloth, feed them into the machine and steam-press in the pleats is the great homemade-mask debate: to wear or not to wear. To that question I have no doubt: it’s a hard ‘wear’ if you are in the vicinity of others.

Sure, there is a tsunami of science that proves that the three-layered, tight-weave cotton reusable mask that I’ve been making won’t protect you — the wearer — from catching the virus but this is not about you and you alone. This is about us, about keeping our own damn germs to ourselves, a civic duty seen in east Asian nations that have been-there-done-that with SARS. As pointed out in today’s (at this writing) article in The Atlantic, a store full of shoppers in masks may be seen by those on this side of the Pacific Rim as a sign of the coming apocalypse but one of assurance on the other side: I’ll protect you if you protect me (Check out #masks4all and #youprotectmeIprotectyou).

At Emily Carr University of Art + Design, where I’ve spent the last two years, masks suddenly appeared on some student faces as Covid-19 hit the news, far before any social-distancing policies were set. My personal observation is that those taking these early precautions were likely international students from Asian countries where mask-wearing is a norm for anyone contending with even a cold or seasonal allergies. The sudden sight of all these masks in class and corridors may have unsettled the rest of the student body but it inspired me to design something I’d like to wear: reusable, washable, of natural felted fibre, sculpted so it didn’t touch my mouth, infused with my favourite “Panic Button” essential oil blend. 

Picture
I wasn’t always cool with milling around with the masked ones. When I landed in Japan for what would be an 18-month stay in the late-’80s my first snapshots were of all kinds of people in masks in Kyoto, from little kids in black uniforms on their way to school, to teens picnicking under the blooming cherry trees to old ladies in the narrow streets of Gion. I came to appreciate all the masks worn while cheek to jowl in the infamous Midosuji subway in Osaka, starting with the official charged with gently pushing the commuters into the cars. Reflecting on this (now, while I sew), I wonder what those socially-responsible commuters must have thought about being stuck up against these gaping, mouth-breathing, sniffling foreigners.

I’m reflecting on the real, insatiable need for masks in my own vicinity, right now, for those who are jammed into shelters and squalid hotel rooms with shared bathrooms. While I await reports on how this pandemic is hitting the sick and homeless, I’ll assume masks are a basic need. And until I am tested, I’ll assume that I am an asymptomatic carrier.

I mask up for your protection when I go out for my essential business and when I return I disinfect it, put it back in its baggie, then get back to the task at hand. See my simple three-ply pleated pattern below, or, for you non-sewcialists, check out the T-shirt version at bottom.

Picture
No sewing machine? This can be hand-stitched too (46" total stitching). No elastic? Cut 1-inch-wide strips from an old T-shirt, stretch to curl, then replace the elastic directions with two 7" strips, to be tied by user.

Hoping for heat in this log cabin 

11/5/2019

Comments

 
I have this idea for building healthy community in this pretty/cold city through hand-making. It’s a process of making peace with ourselves and connecting with others, transforming individualized desires (thanks, capitalism) into shared desires for a sustainable life and world.
PictureVancouver artist Jenn Skillen — collaborator No. 1 — beta-tests a freeform, no-measure hand-stitched log cabin block method. (Carlyn Yandle photo)
That's the idea. 'How' is the big question.
​
I start with a few rules of thumb. (I love that phrase for its controversial origin that is a deep-dive into human history and etymology, but also for the visual of the hand-as-tool.)  First, the activity must be low-barrier enough to open it up to as much collaboration as possible — no need for special skills or equipment or fees or even shared verbal language. Second, the project must use only found material: freely available, with no better use (because there's already too much stuff in the world). Third, the project must spark interest, otherwise, why would people bother?

A decade ago, these rules of thumb resulted in The Network, an ever-growing public fibre-art piece engaging a wide variety of folks around Vancouver, co-created by Debbie Westergaard Tuepah. That knotty piece continues to weave through my work, mummifying a perfectly good painting practice, winding around ideas of alternative space-making, shelter, and safety nets. Now it's needling into my current project: the Safe Supply collaborative quilt. 

'Safe supply' were the two words on the lips of the crowd at a  CBC Town Hall gathering two months ago. Providing a safe supply of opioids would go a long way to addressing all the problems and fears raised by everyone from student activists to local businesses, from concerned politicians and developers to Indigenous elders: the toxic-drug death epidemic, violence, homelessness, sexual exploitation, theft, vandalism, mental illness. A safe supply is inherent in the view of addiction as a public health issue, not an individual, moral failing.

Picture'Kettling' homeless people into Oppenheimer Park has resulted in a colourful display of a national humanitarian crisis. (Carlyn Yandle photo)
Ground zero of this humanitarian crisis is the colourful, chaotic tent city crowded in Oppenheimer Park straddling Chinatown and the old Japantown. The sight of all those bright, tenuous shelters layer up with this history of racism and injustice, stolen land and lives, and soon I am binding up ideas of found colourful material and that call for Safe supply!, embedding it all in a design, with designs for this as a group project destined for exhibit in more privileged spaces. It is planned as a comforting activity in this often ruthless, discomforting city: a dis-comforter.

PictureHistorical clipping from the llinois State Museum website reveals the log cabin quilt has ties to ending slavery.
I begin this overarching theme one block at a time, and that block is, fittingly, the traditional 'log cabin.'

There's a long history of the log cabin block, ingenious for its simple construction that makes use of even the smallest, thinnest available scraps as well as its history as a vehicle for social justice.

I am attracted to the name that stands as aspiration for home and all that that entails, beginning with the hearth, the centre of the block. From the hearth, the block is built in a spiral of connected scraps to form a foundation for countless quilt designs (traditional examples below).

The work has not yet begun but like all collaborations it begins with faith in people and trust in my practice. Something will emerge. We will engage. We will generate some heat in this log-cabin community.

Some useful how-tos and overall pattern examples:

Picture
Traditional quilts made from colour variations of the log cabin block (clockwise from left): Straight Set, Barn Raising, Light & Dark, Courthouse Steps, Courthouse Steps Variation, Amish Crib Quilt. (From http://www.museum.state.il.us)
Comments

We're taking on capitalist forces, one stitch at a time

8/30/2019

Comments

 
Back when I was still transitioning from workaday newspaper editor to mainly work-for-free artist I applied for a Nexus card.
"Whaddaya you do for a living?" asks the clerk in her American drawl, without looking at me.
When I get this question I always wish there was an easy answer, some simple keystroke like in the relationship status options on Facebook.

"It's complicated," I say. She sighs.

I start in about how I was a journalist but then quit to go into full-time Fine Arts studies, then after graduation I got a studio and am now developing an art practice and doing work for upcoming projects... and stop as her eyes fall to half-mast. We go back and forth for a while like this when she announces: "I'm gonna put you down as housewife."
​
Even though I've always been self-supporting I decide not to waste my breath defending my non-conforming life choices. But really, I'm using the best skills I have to be a contributing member of society and I'm grateful to be a part of the ever-expanding, borderless community of crafters, craftivists and visual artists, all connected beyond language by hand-making for peace of mind and social, political connection.
Craft creates wellness, it brings humanity during turbulent times, it breaks down hierarchies and is the connecting thread between those who make for personal, tactile pleasure or for use and those who make art for art's sake. Craft is as at home in the home as it is on Etsy or in the white-cube gallery. It has footholds in ancient practices and the avant-garde. It complicates categorization and won't be fenced in (or out).
One of my pieces is currently at home among the works of 20 spinners, weavers, felters, quilters, garment designers, knitters, rug-hookers and others in a current Gulf Island fibre-arts show. Some of those sharing their work self-identify as artists and some as specific kind of makers but all of our pieces hang together in conversation, sparking more conversation and more ideas among visitors.

This exhibition is another reminder that craft is embedded in deeply-personal making activity, the tactility of the culturally-rich materials and the creative communities we live in.
Picture
Making and their makers form an essential humanizing force more encompassing and enduring than even advanced capitalism but there's no way to show that value on a Nexus form.
I reject that line of questioning. And I am not married to a house. 
Comments

My needling starts with a need to build community

11/10/2018

Comments

 
Picture
The other day I did this because it really needed to happen. All that gleaming new-campus architecture, surrounded by other gleaming buildings and gleaming buildings yet-to-come was begging for a little fuzzying up.

I did my undergrad at the old Emily Carr University of Art and Design campus which was decidedly less smooth and metallic and more crafty, situated as it was in the Granville Island artisan mecca on the ocean's edge. I liked running my hand along the old wooden posts carved with decades of scrawled text, and all the wiring and ductwork that in the last few years looked like a set out of Brazil. I miss the giant murals on the cement factory silos next door and the funky houseboats and the food stalls in the public market and Opus Art Supplies 30 feet away from the front entrance.

The new serene, clean Emily Carr building is surrounded by new and planned condos that most students could never afford, high-tech companies and, soon, an elevated rapid transit rail line. As much as I wanted to return for graduate studies, I was not convinced that I would be a good fit here, so asking for permission and access to the sign was a bit of a trial balloon for me. I got quick and full support for the idea and its installation, and now see this new white space as a blank canvas, ready for the next era of student artistic expression.

This is my first solo yarn-bombing foray. A bunch of us attacked the old school back in the day for a textile-themed student show but I have yet to meet my people here. So the Emily Carr Cozy is not just a balloon, it's a flare. Is there anybody out there?

As I busied my freezing fingers with the stringy stuff (in hard hat, on the Skyjack operated by design tech services maestro Brian) I kept an ear out for reaction. And it was good. Sharing the fuzzy intervention on social media (#craftivism, #subversivestitch etc.) reminds me that I am not alone in my need for needling authority. Indeed, this public performance includes behind-the-scenes connecting with my community of makers to collect their leftover yarn and thrift-store finds even before the main act. (You know who you are.)

Textile interventions in the public sphere have a way of provoking polarizing responses. Some love the often-chaotic hand-wrapping of colourful fiber; others view the crafty messing with architecture with disdain of all things cozy and crafty and engendered female. I liked the idea of having to wear a hard hat and working for four hours in a Skyjack, in the mode of construction workers in the immediate vicinity of my rapidly changing hometown, to complete my knitting job.


Picture
The reverse side of the Emily Carr Cozy, seen only from the interior of the school, is like the work behind the scenes in my making: chaotic, improvisational and maybe more interesting than the public side. (Carlyn Yandle photo)
A visual of the process, below. (All photos by Caitlin Eakins)
Comments

A beautiful craftivism in a flowery part of the world

11/8/2017

Comments

 
Picture
MORE THAN DECORATION: Flower images carry deep cultural significance for the Maya. Left: A figure dating from 600-900bc nestled in a lily. Centre: Needlepoint detail from a huipil (top), part of a traditional everyday dress. Right: Jesus emerging from a lily in an oil painting of the Immaculate Conception. Carlyn Yandle photos
I've made it my mission to shake things up by injecting the handmade domestic — doilies, quilts, sweaters and rugs — into austere, authoritative spaces and places, from pristine galleries to sketchy undersides of my city, pushing back on everyday misogynistic descriptors like 'girly' or 'old-lady' or the slightly derogatory 'frou-frou' and 'flowery.'

Then I landed in Merida, Mexico, last week where there is no fight against things flowery and archetypical feminine. Here in the capital of the Yucatan state and the ancient Maya culture (not dead but flourishing against all odds, by the way, like Canada's indigenous people) the streets are a flowery visual field of richly needleworked garments and handmade decorative traditions woven throughout the city, from tiled floors to architectural details and murals.
Above and far right: Carpet-like ceramic tile floor artworks are more than decorative. At left, a four-petal flower signifies universal realms; Centre: Merida's impressive El Gran Museo Del Mundo Maya pays tribute to the importance of the handmade floral motif in one of its exhibit salons. Carlyn Yandle photos


Flowers are so sacred and symbolic in the highly complex Maya culture that the Franciscan missionaries, in service of the Catholic Church, appropriated specific flower designs in their battle for their souls, in a cultural war of the roses (and lilies and other healing, spiritually-weighty blooms).
Picture
Left: This rare depiction in oil of Fray Francisco de Santa Ana appeals to the Mayan sense of the sacred. At right, typical religious imagry is embellished with rich floral motifs in a visual appropriation of Mayan culture. Carlyn Yandle photos
Coming from the land of yoga pants, I'm fascinated by this idea that an acceptable form of everyday dress is one's own hand-stitched art piece in the form of brightly-coloured cultural patterns of flowers on white cotton or linen tops and tunics, over an underskirt edged in a thick band of white lace.


No made-in-China. No apologies, no fading away.
Picture
Comments

How mosaic 'Tagging' made an east van alley someplace special

9/13/2015

Comments

 
Picture
I'm sure I didn't come up with the term 'mosaic tagging' but the idea of embedding found remnants of domestic culture into the built landscape has been rolling around my brain for a while. 

It finally happened this summer, in an East Van back lane. In the space of one (hot!) half-day, the tiny tarmac'd alley was transformed into someplace special, as neighbours turned found colourful shards of china and pottery into mosaic-ed markers of their home and family.

With a plan in place weeks before, each household thought about a particular design (or not — serendipity works too) and collected chipped china dishes, old toys, and mementoes, the whole endeavour of collecting pieces becoming a conversation piece itself among neighbours. The day before tagging day, someone from each household used chalk to draw a shape of their choice for their mosaic and some of the handier people carved out the layer of tarmac by tracing the chalk lines with a jigsaw. As night fell, the sound of smashing plates could be heard.

On the morning of the laneway intervention, kids helped stir up cement mix and water, and everyone got busy inserting their bits and pieces into the concrete and touring the lane to watch their neighbours' progress.

I love the thought that these upcycled bright bits of pottery and china have created sweet little urban interventions in all that grey tarmac that will withstand our soggy seasons and be around long after the kids grow up and the families move away.

It's the kind of project that would never get permission, but the city is forgiving when it comes to community-building. In fact, the block party that night was funded by a small neighbourhood grant from the Vancouver Foundation just for that purpose.

Mission accomplished.

The mosaic tags remain there as emblems to those families, this time and place, and that one connective neighbourhood event  — well, until the developers win.

Picture
Picture
Picture
Picture
Picture
Picture
Comments

Laying doilies on devastated gardens: a bit of sublime madness?

3/6/2015

Comments

 
When the white RCMP SUV was spotted cruising around the Maple Street section of the community gardens early Monday morning, it was clear that the chainsaws and earth-movers were next.
PicturePlaceholders for levelled gardens: Wrap I and Wrap II, 10' diameter each, crocheted Tyvek (Photo by Carlyn Yandle)
For the next three days all the gardeners of those little plots along the Arbutus rail corridor could do was ask that some of the uprooted shrubs be saved. But mostly those who had the stomach to watch the carnage were shaking their heads, hugging one another, trying not to cry.

The train used to come by here when there were gardens. Now there is no need for trains yet all but a fringe of the gardens must go.

It's the futility of the destruction of people's source of food, pleasure and community that hurts the most. CP has every right to their right of way, but it's a crying shame all the same.


PictureBackhoe tracks and Wrap I, 10' diameter, crocheted Tyvek (Photo by Carlyn Yandle)
When all was left was the tracks of the backhoe, I thought that laying down some giant doilies seemed appropriate. Or at least it didn't seem any more ridiculous than levelling the gardens along a useless spur where the rails have long disappeared under the tarmac of some streets it used to cross.

There was no one around when I unfurled the two 10-foot-wide doilies on the bare dirt after the land-clearers left for the day - eerie for a time and place where there's usually all sorts of people tending their vegetables, walking dogs, riding bikes, pushing strollers or just surveying the spring coming on. But soon a few curious souls ventured in to ask what I was doing or snap some Instagram-destined pics. Conversations started up, mostly about Those Assholes but also about the grandmothers who loved their doilies, or the other things that these things reminded them of. A bit of absurdity in the face of absurdity, but it kick-started something. 

When one's world seems unbearable "it is the sublime madness that makes one sing," Pulitzer-prize-winning war correspondent/author/minister Chris Hedges told the crowd at a packed downtown church two weeks ago. Acts of creative expression in the face of devastation are signs of a belief in a "divine justice." They are small acts of hope that say, 'We exist.'

Hedges rocks your world view here (talk begins at 16-minute mark):

Comments

Shab-fab granny squares cover it all

1/16/2015

Comments

 
Picture






Maybe it's the chilly monochromatic climate at work here, but I'm suddenly wrapping myself up granny squares. The more I think about them, the more potential I see.

There's a lot of culture woven into those fuzzy little colour grids. They're there in the background of popular culture, infusing irony and cozy home-yness, nostalgia and disdain. One graces the couches of neuroscientist Amy Farrah Fowler's nerdy apartment and Roseanne's working-class house. Jemaine sleeps under one  (badly).

Sure, they achieve that soupçon of shabbiness or tastelessness essential to the story but those set decorators are no idiots; granny squares inject hits of high colour and pattern to the visual field. They are trippy, decorative non-decor objects. Their form is used because of their assumed function over form. 

Picture
They are the throws that are thrown around, their colourful geometry reflected and refracted so that they radiate western domestic culture, love it or hate it.

Cate Blanchett adorned a designer version on the red carpet, to a chorus of derision by the fashion police, which secured the actress more publicity. 

There's something delicious in the mix between haute couture and the easy, scrappy crochet method that results in over 13,000 Etsy items under the search term, "granny squares".

I've loved/hated granny squares ever since my cousin and I were given matching shrink vests at age 10, from our moms. I would have been wearing that single, large purple granny square at a time when the Italian dads in the neighbourhood were setting up that granny-square pattern in concrete breeze walls around their brand new Vancouver Specials. 



PictureOne breeze wall in a photo essay by the author of joy-n-wonder.blogspot.ca
Like the blankets, the breeze walls evoke utility and thrift but are visually interesting enough to warrant new consideration. The modularity of granny squares and breeze-wall blocks ooze with potential, especially as a mash-up.

Granny squares command attention. The Los Angeles Craft and Folk Art Museum took on new dimensions when it was covered in thousands of donated granny squares as part of its CAFAM Granny Squared installation a couple of years ago. 

Picture
Suddenly, a city that is generally at odds with notions of the handmade, the domestic and the artisanal was attracting mainstream media attention for its collaborative crocheted culture jam.

A couple of years before that, in 2011, members of many Finnish women's organizations and the craft teachers' union blanketed Helsinki Cathedral's steps in 3,800 granny square tilkkupeitosta (Finnish for 'quilt').

Picture
The modular motif marries beautifully to existing architecture, as the granny squares take on a Tetris effect, cascading down to the giant public square in this domestic intervention.

But what about the granny square as a building block itself? What if a building appeared to rise out of a giant crocheted coverlet? How could concretized crocheted granny squares be utilized as sculpture?

It's a fuzzy concept worth building on.



Comments

Craftivists in our midst

10/2/2014

Comments

 
Picture(Photo by Carlyn Yandle)

What do you do when you're suddenly confronted by a threatening sign where this year's crop of wild blackberries were leveled along the Arbutus corridor?


You yarn-bomb it, of course. That's what one craftivist did, and it's lovely too: a raspberry sheath with fuzzy stripes, jaunty buttons and a bowtie. It says, Sorry officer but we can't take you seriously in that ridiculous outfit.

It was a charming, disarming move following the brutal behaviour of the railway bosses who are in the midst of strong-arming the City to pay big (starting with smashing through a few gardens, like a gangster might start by hacking off a toe). On the midsummer's day of the clearcut, a little old lady in her walker stared at the spectacle and said in a shaky voice, "I'm heartbroken."

The raspberry sheath is a humorous act but the dedication to the making reflects on the maker's serious intention. This piece of visual satire is a daily reminder to question authority. 

Two months later, this act of self-expression remains intact — knitted fiber is durable that way. Indeed, 'use' is never far away from craftivism.

Anyone who bikes hither and yon in this town has seen yarnbombing and other furtive fiber-based forms. it's almost a call-out to likeminded makers to mobilize, like the bat signal. And there's just the place to hang out and plot the revolution next week in the radical hotbed of Mount Pleasant.

Picture(Photo by Carlyn Yandle)
Make Your Voice Heard: The Intersection of Craft, Creativity, & Activism is a dangerous mix of accomplished crafty authors and alcohol served up at Hot Art Wet City gallery, Tuesday Oct. 7, 7:30pm on. Authors Kim Piper Werker, Leanne Prain, and, all the way from Arlington, Virginia, Betsy Greer  will each speak about creativity and do some book signings.

From the Hot Art Wet City site:

Kim Piper Werker is the author of Make It Mighty Ugly: Exercises and Advice for Getting Creative Even When It Ain’t Pretty and several crochet books. Kim teaches hands-on and discussion based Mighty Ugly workshops and lecture-conversations that help people build confidence in what they make and do.

Leanne Prain‘s newest book is Strange Material: Storytelling Through Textiles. A professional graphic designer, Leanne holds degrees in creative writing, art history, and publishing.

Betsy Greer is a writer, maker, and researcher and the author of Craftivism: The Art and Craft of Activism. She runs the blog Craftivism.com and believes that creativity and positive activism can save not only the soul, but also the world.

Comments

    RSS Feed

    browse by topic:

    All
    Abstract Painting
    Activism
    Additive
    Aesthetics
    AgentC Gallery
    Alison Woodward
    Aluminum
    Anxiety
    Appropriation
    Architecture
    Arleigh Wood
    Art
    Art Business
    Art Discourse
    Art History
    Artist
    Artist Residency
    Artist Statement
    Artist Talk
    Art Marketing
    Art Quilt
    Art School
    Art Show
    Art Spiegelman
    Assemblage
    Author
    Banksy
    Bauhaus
    Beauty
    Betsy Greer
    Big Data
    Billy Patko
    Blogs
    Blog Tour
    Bob Krieger
    Body Of Work
    Books
    Boro
    Braided Rug
    Braiding
    Bruce MacKinnon
    Bruce Mau
    Building
    Bull Kelp
    Business
    Buttons
    Carlyn Yandle
    Caroline Eriksson
    Cartoon
    Ceca Georgieva
    Challenge
    Children
    Christmas
    Cindy Sherman
    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
    Connie Sabo
    Construction
    Coronavirus
    Cover
    Cover-19
    Covid
    Craft
    Craft Blogs
    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
    Dear Human
    Deep Craft
    Denim
    Denyse Thomasos
    Design
    Discomforter
    Display
    Distraction
    Distracts
    DIY
    Doilies
    Doily
    Domestic
    Domestic Interventions
    Douglas-coupland
    Draw Down
    Drawing
    DSquared2
    Dude-chilling-park
    Dyeing
    Eastend
    Eastside Culture Crawl
    ECUAD
    ECUAD MFA
    Editorial
    Edward Burtynsky
    Eggbeater Creative
    Embellishment
    Embroidery
    Emily Blincoe
    Emily Carr Cozy
    Emily Carr University
    Environment
    Environmental Art
    Exhibit
    Exhibition
    Experimentation
    Exploration
    Expression
    Fabric
    Fabricating
    Facebook
    Failure
    Fashion
    Feminist
    Feminist Art
    Festival
    Fiber
    Fiber Artist
    Fiber Arts
    Fibre
    Fibre Arts
    Film
    First Saturday Open Studios
    Flo
    Flow
    Foraging
    Form
    Foundlings
    Found Materials
    Found Objects
    Fractal
    Free Store
    Fuzzy Logic
    Gallery
    Gallery-row
    Garden
    Garment
    Gentrification
    Gill Benzion
    Gingerbread
    Globalization
    Glue
    Grad 2020
    Graffiti
    Granny Square
    Granville-island
    Green Space
    Grid
    Guanajuato
    Guerrilla Art
    Guerrilla Girls
    Halloween
    Handmaking
    Hand Stitching
    Hand-stitching
    Handwork
    Hashtags
    Haywood Bandstand
    Healing
    Health
    Hearth
    Hideki-kuwajima
    Homelessness
    Hot Art Wet City
    Hybrid Thinking
    Ian Reid
    Ian Wallace
    Ideas
    Identity
    Images
    Incomplete Manifesto For Growth
    Industrial Design
    Industry
    Innovation
    Inspiration
    Instagram
    Installation
    Intervention
    Invention
    Irena Werning
    Janet Wang
    Jeans
    Jeff Wilson
    Joel Bakan
    Joseph Beuys
    Joseph-wu
    Journalism
    Joyful Making In Perilous Times
    Judith Scott
    Kim Piper Werker
    Kimsooja
    Knitting
    Knots
    Knotting
    Kyoto
    Labor
    Labour
    Landon Mackenzie
    Landscape
    Leanne Prain
    Lecture
    Lighthouse
    Liz Magor
    Log Cabin
    Logo Sweater
    LOoW
    Lost Painting
    Lumiere Festival
    Lynda Barry
    Macrame
    Maker
    Making
    Malcolm Gladwell
    Male Gaze
    Maquette
    Marie Kondo
    Marketing
    Mark Lewis
    Martha Rosler
    Masks
    Material Exploration
    Mathematics
    Maya
    Media
    Meditative
    Metalworker
    MFA
    Mister Rogers
    Mixed Media
    Monique Motut-Firth
    Monte Clark
    Mosaic
    Motivation
    Mt. Pleasant Community Centre
    Mud Girls
    Mural
    Natalie Jeremijenko
    Nature
    Needlework
    Neon
    Net
    Network
    Networking
    Neuroplasticity
    New Forms Festival
    Newspapers
    Nick Cave
    Noah Goodis
    North Vancouver
    Omer Arbel
    Online Talk
    Openings
    Organization
    Origami
    #overthinking
    Paint
    Painting
    Pandemic
    Paper
    Paper Sculpture
    Parkade Quilt
    Patriarchy
    Pattern
    Pechakucha
    Pecha Kucha
    Perception
    Performance
    Performance Art
    Photography
    Playing
    Political Art
    Polly-apfelbaum
    Pompidou
    Poodle
    Port Coquitlam
    Portrait
    Process
    Production
    Profession
    Project
    Protest
    Psychedelic
    Public Art
    Qr Code
    Quilt
    Quilt Block
    Quilting
    Rachael Ashe
    Rachel Lafo
    Ravages
    Raw Materials
    Rebar
    Recycle
    Research
    Residency
    Resurge
    Retreat
    Rhonda Weppler
    Richard-tetrault
    Richmond Art Gallery
    Right Brain
    Rondle-west
    Rug
    Ryan-mcelhinney
    Safe Supply
    Safety
    Sarah-gee-miller
    Sashiko
    Saskatchewan
    Scaffolds
    Scale
    Scraps
    Sculpture
    Seaweed
    Semiotics
    Sewing
    Sharon Kallis
    Shawn Hunt
    Shigeru Ban
    Sketchup
    Slow Craft
    Smocking
    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
    Tagging
    Talking Art
    Tapestry
    Tattoo
    Technology
    Terry Fox Theatre
    Text
    Textile
    Thrift Stores
    TJ Watt
    TO DO
    Tools
    Toronto Design Offsite
    Toybits
    Trash
    Trash Art
    Trevor Mahovsky
    Typography
    Tyvek
    Unbridled
    Unfixtures
    Upcycling
    Urban Design
    Use Object
    Use Objects
    Utility
    Vancouver
    Vancouver Art Gallery
    Vancouver International Airport
    Video
    Video Tour
    Visual Field
    Visual-field
    Visual Language
    Wallace Stegner House
    Wall Hanging
    Waterwork
    Weaving
    William Morris
    Wood
    Wool
    Work Wraps
    Wrap I
    Wrap II
    Writing
    Yarn Bombing
    YVR
    Zaha Hadid
    Zendoodle
    Zero Waste Art
    Zero-waste Art

    Archives

    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